Brooklyn based Jules de Balincourt (previously featured here) is a French-American contemporary artist. He is best known for his abstract, atmospheric paintings with saturated colors, blurring the line between fantasy and reality. Force-fed on TV and an all-American mind-junk diet, his paintings are crafted with democratic gusto. Evoking notions of utopia and dystopia, de Balincourt’s paintings investigate public and private spaces and suggest an ever-changing landscape – both physical and psychological.
Santa Rosa, CA based Justin Margitich works with watercolor, colored pencil, and acrylic on paper. Margitich draws from anthropology, taxonomy, geology, and alchemy creating abstract paintings that offer special depth and opposing textures that force the viewer to be engaged.
In each work, brightly hued, organically flowing gradients are arranged in seemingly impossible configurations. Upon close observation, the inorganic plastic qualities of the artists’ materials become apparent to the viewer. Throughout the exhibition, these fluctuations between organic and inorganic are subtle reminders of where we find meaning in the order of our contemporary culture.
Jan Kaláb was born 1978 in Czechoslovakia, at a time when the Iron Curtain still existed and graffiti was a rare sight in the Eastern World. Luckily for us, with the fall of the Iron Curtain, Jan Kaláb was able to fall into the world of graffiti and street art, developing his unique style within the iconic street art crew DSK.
Starting off as a founder of the DSK crew he made a name for himself throughout Europe as “Cakes”. Later on, he decided to broaden his horizon and move to New York where he changed his name to “Point” and started creating huge sculpted abstract letters which he chose to put up in the streets and on walls. He thereby created another form of graffiti without a spray can, but truthful to the spirit of competition and innovation of the urban scene. He uses colorful squares and circles as his vocabulary for infinite variations around depth, time, and motion.
New York based artist Anne Vieux works with the idea of mediation and gesture through the lens of the screen, in painting, video, and sculpture. Vieux’s abstract paintings emerge out of real objects captured through a digital process manipulated by hand. Vernacular materials evoke familiarity while computed color fields create an otherworldly aspect.
Lausanne, Switzerland based Philippe Decrauzat professes an interest in the “direct relationship Op art provides to the viewers and the way it influences their minds.” Decrauzat’s monochromatic, geometric sculptures, wall paintings, and installations are rooted in the traditions of Op art and Minimalism established in the 1960s and ’70s. Yet in subtly manipulating the relationships between his artworks and the spaces in which they are situated—arranging his works as a sort of navigational tool in a gallery, or arraying stripe paintings to create effects of light and shadow—Decrauzat imbues his historically rooted work with a 21st-century sensibility.
The paintings and installations of Hendrik Zimmer are influenced by the Internet’s impact on culture at large and its distribution. Belonging to the post-internet art generation and experiencing the changes brought from a long-since digital age and the network ideology, Zimmer develops his paintings concerned particularly with their materiality and their ways of presentation and dissemination in the physical and digital space.
Zimmer’s décollage paintings reconcile figurative elements in form of a photographic image taken from a poster or magazine and the expressionist abstract painted gestures. Most of the times the elements are parts of human figures, faces, hands or other parts of the body and fully integrated in the composition.
Eric Yahnker employs elaborate metaphors and cultural commentaries in his monumental, irreverent charcoal and colored pencil drawings. Immediately appealing on their surfaces, Yahnker’s drawings convey deeper meanings to viewers who patiently engage with them. The artist begins his drawings as a series of words in a sketchbook, collaging ideas as much as images. The results are aggregations of witty, politically charged imagery.
Nikki Maloof lives and works in Brooklyn. Jungle animals and exotic vegetation appear frequently in Maloof’s drawings, paintings and collages. Often surrounded by luminous tropical hues, tigers, monkeys and bats can seem either benign or sinister, reticent or theatrical, and adopt an anthropomorphic quality that discloses a sense of the artist’s compassion for her subject matter.
The same lightness of hand with paint, color and line, hints at the somber and dejected aspects of the domestic and quotidian – drooping flowers, in a vase or overcome by rain, and the view, from a distance, of the warmly lit interiors of people’s homes through window panes. Maloof’s works tend toward the familiar yet maintain a level of un-specifiable strangeness that produces their emotive quality.
Louie Cordero’s paintings are informed by the complex political history of the Philippines. Depicting monsters and zombies from Filipino mythology, Cordero includes blood, gore, and military imagery to reflect the eclectic and often violent mix of indigenous culture with American, Spanish, and Asian legacies. In defining his aesthetic, Cordero is drawn to diverse sources, including kitsch, Indian advertising, American B-movies, and pulp fiction.
Love Lundell’s paintings unfold in their own world. Dreamlike, mystical, surrealist, but also harboring references to the everyday, his paintings alternate between engaging the viewers directly and holding back in passive contemplation. Executed in a range of muted palettes, Lundell’s paintings includes collage technique and often reveals a fragmentary crackling effect due to layer upon layer of applied lacquer.