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.
New York City based Mike Lee’s (previously featured here) graphite drawings contemplate the duality between artificiality and realism by taking everyday normalcies (figures, objects and settings) and working them into their most simplistic forms. Small subjects surrounded by vast white spaces, Lee’s drawings represent fleeting moments in a large world.
Eva Eun-Sil Han was born in Korea where she lived for 27 years. When she encountered the collages of Max Ernst did she start to use collage as a means of artistic expression. In her work she combines material from any kind of ready-made mass media, such as newspapers, magazines or old books. Eva Han prefers to use knife and glue rather than working with pixels on a computer screen, because it allows her to touch, feel and smell the different source papers. Especially old paper smells good to her.
The artist collages photographs, her own and others, often drawing and painting onto the paper. Many of them seem purely abstract and in most, the assemblage of images is in such bits and pieces they don’t seem meant to be discerned specifically.
The collage work of Jesse Draxler combines tendencies of immediacy, appropriation and a denial of visual ownership, though with hand-crafted technique. His mixed-media fusion of found images, typography and design sensibilities thrives in information-overload times, both in drawing inspiration as well as being viewed instantaneously. By finding source material from anything, Draxler is able to ‘remix’ fashion spreads as easily as referencing art movements, crafting a new 2-dimensional language that has an immediate accessibility.
Canadian artist and maker Erin Greenough creates intricate ink drawings using a dotwork or stippling technique inspired by science and nature. While working as a full-time graphic designer, Erin also freelances as an illustrator.