Kirk Fanelly’s collage and oil paintings are a great reminder that you can create gorgeous works of art, have a sense of humor, and make the viewer laugh and be disturbed all at once. Fanelly completed his BA from Brown University in 1999.
His work is part grounded in the solidity of the day to day and the objects and people that surround him. From those points, he flushes out narratives, humor, and dimensions that are either hidden or obscure. His desire is to be influenced by his studio space at McColl Center – introducing new interiors, people, light and ideas to his work.
Jess Johnson (previously featured here) was born in Tauranga, New Zealand in 1979. In 2016 she relocated permanently to New York after twelve years of living and working in Melbourne, Australia. Her drawing and installation practice is influenced by the speculative intersections between language, science fiction, culture and technology. In her drawings she depicts complex worlds that combine densely layered patterns, objects and figures within architectural settings.
Johnson’s drawings are often displayed within constructed environments that act as physical portals into her speculative worlds. Her recent video collaborations withSimon Ward have involved translating her drawings into animated Virtual Reality, thus enabling her audience to have the simulated experience of entering the hypnotic realms depicted in her drawings.
Lucy Sparrow hails from Bath, in the West Country of England and works mainly in felt to create art that evokes delight and emotional responses from nearly everyone who sees it. Her world is very much about having an emotional response to the work she produces and to bring people closer to her creations. Lucy’s work has often been described as childlike because of the bright primary colors that she uses and the quirky little touches that she adds to almost everything she makes.All ages delight in the ingenious way she subverts everyday objects and turns household objects to life with playful faces and a joie de vivre that is totally infectious.
Already, Lucy Sparrow’s Feltism has caused quite a stir on the urban art scene and this culminated in 2014 with her audacious and fabulously inventive Cornershop. For the entire month of August, Lucy took over a rundown corner shop in Bethnal Green, East London, and filled it with more than 4000 hand-stitched felt replicas of everyday items that you’d normally find in a local shop. Tins of tomato soup jostled for shelf-space alongside felt cat litter and a freezer-full of felt ice pops.
Israeli artist Ronit Baranga’s (previously featured here) sculptures are based on contrast and duality in meaning, unexpected and viewer experience, using the metaphor of the body to transfer unsettling yet powerfully expressive human gestures and emotions to everyday objects, which lose their functionality to become instead active, alive, capable of feeling, of interacting with each other and deciding their own path. Her education in psychology and literature resonates through her intimate and connective works on human nature, that blur the lines between living and still life.
Socially awkward and full of repressed anger, Linda Cordell anesthetizes herself spending mindless hours carving detailed texture on humorous and/or uncomfortable animal sculptures. Her work reinterprets the figurine enabling animals to break the chains of cuteness and noble savagery. An appreciation of the ridiculous, a love of beauty and skilled craftsmanship, and the belief that domestic objects are social propaganda all contribute to her work.
Cordell’s meticulously sculpted, lifelike porcelain figures depict animals juxtaposed with everyday domestic objects, raising questions about our need to control or deny nature’s ugly realities. Cordell focuses on animals’ more base tendencies: hunger, aggression and reproduction. Rooted in an aesthetic reminiscent of the grand European porcelain manufacturers reflecting a lifelike realism and classical style, her meticulously sculpted porcelain figures depict animals juxtaposed with everyday domestic objects, with afflictions or in compromised situations.
Seattle based artist Erich J. Moffitt paints fables, told with totemic animals, archetypes and talismanic objects. Moffitt is an internationally exhibited painter and illustrator, born in 1982, in the United States. His work often re-imagines classical themes from legend and myth via contemporary subject matter, frequently in a narrative style. His paintings are fables, featuring totemic animal archetypes and talismanic objects.
Till Rabus was born in Neuchâtel, Switzerland and graduated from the Ecole des Beaux-Arts in La Chaux-de-Fonds. He now lives and works in Neuchâtel. Rabus has a keen eye for arranging inanimate objects in provoking ways. The artist combines these skills in his strange still lifes, where ordinary, discarded objects are found in mysterious compositions that play with symmetry and saturated colors. Rabus eradicates any signs of human presence in his paintings, as if these objects ended up in these orderly arrangements out of their own free will.
Peter Judson is a multi-talented illustrator and printmaker based in London inspired by such luminaries as the Memphis Group and Dieter Rams. After starting his career at the age of 14 with a Microsoft Paint drawing published in Pictoplasma, Peter spent some time as the leather-clad drummer of an unsuccessful band before ending up where he is now – creating satisfyingly transfixing work full of brow-furrowing graphical goodness.
Arkansas based artist Linda Lopez –influenced by mundane objects and the everyday– creates ceramic objects that almost appear to grow and propagate. Her squat, globular forms sprout rounded appendages and elaborate trellis-like crowns. The artist displays these objects in carefully orchestrated arrangements with a distinctly domestic atmosphere.
Michael Johansson is a Swedish installation artist who takes OCD tendencies to the next level with his real-life Tetris sculptures. His passion for ordinary and useless things organized into exceptionally good-looking piles makes most neat-freaks look like the biggest slobs. Johansson is obsessed with irregularities and coincidences between to disparate objects which may only be linked by a common color or a shape.
Johansson’s precisely stacked sculptures made from ordinary objects like old computer screens, keyboards, cars and suitcases, are installed both inside the gallery and jammed into site-specific spaces.