Derek Ercolano (previously featured here) is a Brooklyn based illustrator who’s work is super rad. He does a lot of weirdo drawings of random characters, with melting faces and riding hoverboards and basically tripping out in every conceivable way. When you look through his portfolio it’s also cool to see how he’s progressed over the last couple years. His newest stuff is absolutely killing it.
Lena Macka is an illustrator and designer of minimal tattoos, who is based in the French city of Lyon. She seems to work mainly in black and white, and shades of grey, but in her illustrations she uses bold colors. Each illustration and the atmosphere within portrays a sense of peace and tranquillity, achieved through her use of posture and color. However, reflecting that of reality and the hurdles it may bring, each image also represents the struggle and duality of life.
Jeremy Nichols was born in Tokyo, Japan in 1982. He spent most of his youth in the suburbs of Columbus, Ohio. After high school, he went to the Ohio State University to study printmaking under Charels Massey jr. and Philip von Rabbe. Shortly after he graduated with a BFA, he moved to Portland, Oregon where he is currently working, drawing, painting, and starring at walls.
Ritchelly Oliveira draws from emotions to create his different pieces. Building on his talent for sketching which he discovered at a young age, Oliveira developed a distinctive style: hyperrealistic portraiture often interspersed with surrealistic elements that surprise and captivate. While the artist admits that there can be a cliché behind the emotion, he sees the bumps and anxieties hidden beneath the surface. This has inspired him to display these scars in his own work as he has witnessed them on his own path.
Katy Ann Gilmore is a visual artist living and working in Los Angeles. She received a BA in Mathematics, Art, and Spanish from Greenville College in Greenville, IL and an MFA in Visual Art from Azusa Pacific University in Azusa, CA. Working in sculpture, installation, and drawing/painting, she is currently influenced heavily by topography and the relationship between 2D, perpendicular planes and their distortions into 3D space.
John Harman’s exploratory, give-it-a-go-and-see-what-happens attitude has propelled him since he was a boy. His iterative journey has had its fits and starts, but its forward momentum has been fueled by his unceasing curiosity and his desire to learn—not just from his tools, but also from the larger creative community. While working full-time, Harman pursued a four-year degree in video game art. The courses taught him a lot, but they skipped right over the basics, so, as with Photoshop before, his made his own way through 3D Studio Max, Adobe InDesign, and a whole host of other programs.
Los Angeles based Thomas Housago’s work playfully subverts the expectation of sculpture. Drawing reference to a multitude of styles such as Classicism, Cubism, and Futurism, Houseago’s intentionally clumsy forms trade the imperious and enduring qualities of traditional bronze or marble for the humble aesthetic of plaster and various found materials. Lacking the weighty physical stature associated with three dimensional media, Houseago’s ‘monumental’ structures appear almost comically flimsy, reducing the grandiose weight of art history into sympathetic effigies.
Houseago is fascinated by tribal art from Africa and the South Pacific, an influence evident in the primitivist mask-like heads and crude features of his disjointed figures. To create them, Houseago begins with a structure of iron rods, then adds materials such as plaster, hemp, and wood. Some of his works incorporate charcoal or graphite sketches of faces and anatomy on plaster and wood panels, producing an unfinished look that draws attention to the artist’s process.
Brooklyn-based painter Torey Thornton creates abstract, crudely rendered forms to explore the picture plane as both a spatial field and a medium for conjuring images and sensibilities. Thornton rejects the canvas, instead preferring the textural possibilities of paper, found wood, and slatted panels, all of which serve as the grounds for spray and acrylic paint, as well as collaged objects. His paintings exhibit various influences, from color field and monochrome painting to biomorphic abstractions. Certain elements suggest recognizable forms—cars, the sun—while others are more cryptic, such as the repeated appearance of perpendicular lines.