Jonathan Chapline is an oil painter and digital artist living in Brooklyn. Each of his scenes look as if its parts have been pixelated and rendered smooth on auto-loop, the remaining shapes melodramatically lit.
He makes art that reflects the transition between interiors and exteriors of the suburban landscape that outwardly conform to societal pressures, and which hint at the reality that exists behind those facades representing the neighborhoods of everyman. The work reveals the contradiction and tension between appearance and reality, giving the viewer an opportunity to consider what subsides beyond and between the veneer of their own life experiences.
Faig Ahmed’s surreal sculptures incorporate ancient carpet-weaving techniques from his native country of Azerbaijan into forms that anyone would identify has hyper-contemporary. His intricately patterned weavings are mounted on architectural structures, fabricated in wood or plastic. Sometimes the stark contrast between white form and traditional tapestry is startling enough on its own; other times, Ahmed alters the patterns to suggest digital manipulation, pixelation, and distortion.
Taiwanese artist Hsu Tung Han carves figurative sculptures from wood that appear to be dissolving into fields of pixels. He is a master of puzzling together pieces of wood into unbelievable figurative sculptures.
Hsu Tung Han thinks of his work as a puzzle, carefully laying out each piece in preparatory drawings and clay models. Then, strips of walnut, teak, or African wax wood are joined together and worked over meticulously.
NYC-based Lala Abaddon has a unique process that involves printing off large format photographs, cutting them into hundreds of strips, and weaving them together by hand. The resulting patterns are mesmerizing, and possess an almost pixelated or digital quality to them.