Andrew Archer is an illustrator and art director who was born in Auckland, New Zealand and currently resides in Melbourne, Australia. Inspired by pop culture, fashion, surrealism, wood block prints and his time spent in Asia his work is a self asserting mix of hallucinogenic color and rhythmic line.
Hillary White Rabbit is a Belfast, Maine native, born from the salty depths of a bubbling cauldron overflowing with ’80s pop culture, classical art, and Alice in Wonderland. She spends most of her time painting classical art and pop culture mash-ups, and designing T-shirts.
Juan Travieso is an artist based in Miami and New York. His work explores notions of impermanence and decay through a combined language of pop, realism, and abstraction. Figures, be them humans or animals, are broken up into spaces and forms much like 3d models, speaking to both their temporality and transition into the digital age.
Yosuke Ueno is a self-taught Japanese artist, working in the style of pop surrealism. Born in Japan in 1977, he has been creating his unique and colorful world since his early age, and as a result Ueno’s first solo exhibition was in 1994 in Yamaguchi, when he was just 16 years old.
Weird, creepy but in a beautiful kind of way, Ueno’s art stands out for its interesting juxtapositions and hidden symbolism. Skulls, swans, scissors and amazing characters appear in his paintings, making you wonder what kind of hidden message they all carry.
Brooklyn based Cute Brute‘s images are pure insane-pop-art-genius with each piece telling at least a thousand stories. Cute Brute’s sense of humor is wickedly on-point, as the illustrator’s style is cartoonish yet polished and so acutely observed.
Blending themes of pop culture with techniques reminiscent of the old masters, Mark Ryden has created a singular style that blurs the traditional boundaries between high and low art. His work first garnered attention in the 1990s when he ushered in a new genre of painting, “Pop Surrealism”, dragging a host of followers in his wake. Ryden’s aesthetic is developed from subtle amalgams of many sources, from Ingres, David and other French classicists to Little Golden Books.Ryden also draws his inspiration from anything that will evoke mystery: old toys, anatomical models, stuffed animals, skeletons and religious ephemera found in flea markets.
Ryden’s vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliché and disturbing archetype. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with the juxtaposition of the childhood innocence and the mysterious recesses of the soul.
Los Angeles based artist Seonna Hong was born in Southern California in 1973 and graduated with a B.A. in Art from Cal State University Long Beach. She honed her craft teaching art to children and in 2004 received an Emmy Award for Individual Achievement in Production Design for her work on the animated series My Life as a Teenage Robot. That same year she released Animus, a moving picture book published by Baby Tattoo Books. Hong has exhibited at galleries around the world, most notably with Kaikai Kiki under the direction of Takashi Murakami in Tokyo, Japan.
Miami and New York based artist Juan Travieso‘s work explores notions of impermanence and decay through a combined language of pop, realism, and abstraction. Figures, be them humans or animals, are broken up into spaces and forms much like 3d models, speaking to both their temporality and transition into the digital age.
His paintings involve images ranging from Soviet propaganda and cartoons, to the iconic figures of the Cuban revolution. Woven inside is the personal and how these personal and cultural icons are in constant conflict and transformation. Ambitious and daring are qualities in the very flesh of his work. Travieso is a dynamic maker he approaches painting with great appetite and produces a feast for the eyes and mind.
Seattle-based artist Casey Weldon is best known for his use of melancholy and humor in conjunction with the iconography of modern pop culture.
Weldon intentionally disorients the viewing experience by juxtaposing a subject that is impulsively attractive yet eerily disturbing. With this subtle manipulation the viewer finds themselves drawn towards these subjects, yet can’t quite focus on them, as a result of the eye fatigue experienced by countless hours on the internet, often fueled by the mindless addictive nature of social media.