Bennett Slater (previously featured here) is a Canadian illustrator, designer and graduate from the illustration program at the Sheridan Institute. Bennett’s work is drawn from the relationships the future shares with the past; the new from the old, life from death. Utilizing traditional oil methods on wood, his work plays with techniques borrowed from Flemish and Dutch master disciplines combined with bold, geometric forms linked to more contemporary futurism and deco sensibilities. This dichotomy of contrasting artistic disciplines and influences lends itself to the underlying dualities observed in his work.
New York based Jon Burgerman is a UK born artist instigating improvisation and play through drawing and spectacle. He is a purveyor of doodles and is often credited and referenced as the leading figure in the popular ‘Doodle’ art style.
His work is placed between fine art, urban art and pop-culture, using humor to reference and question his contemporary milieu. His is a pervasive and instantly recognizable aesthetic that exists across a multitude of forms including canvases, large scale murals (indoor and outside), sculpture, toys, apparel, design, print and people (as tattoos and temporary drawings).
Morgan Blair (previously featured here) is a freelance illustrator, fine artist, and desperado. She is a recent graduate of Rhode Island School of Design (RISD), now living in Brooklyn, New York and continuing to advance her interest in trees, legos and excellent music.
Blair’s recent work explores the balance of control and freedom in her process, manifested in a mashing up of low contrast flesh tones with wild, neon color schemes; hard edges with fuzzed out airbrush gradients; smooth, flat shapes with brush marks and rough, sandy textures; and wonky, irregular forms with geometric curves and angles. The resulting optical abstractions play on the absurd in pop culture, current events, the mall, the internet, common street trash, consumerism, and personal experience.
Orlando, Florida based pop surrealist painter Johannah O’Donnell‘s paintings use natural and figurative symbolism to comment on our connection with the universe and our shifting cultural perceptions in the digital age. She tends to turn up the contrast on the wild cast of creatures and figures found in her acrylic works. These characters, who often times are found among cosmic landscapes, shine boldly with brilliant shades of purple, blue, and pink.
Johannah paints with open body, also known as slow drying, acrylics on wood panels that are hand crafted by her husband, carpenter and sculptor Adriaan Mol. Her work is influenced by 70’s Sci-Fi/Fantasy art and the American Pop Art movement and uses figurative symbolism as a narrative surrounding ideas of the human condition.
Memphis-based Alex Paulus’ paintings reflect the denial of a shitty existence. Paulus has created a crowded installation of grotesque figurative paintings that are unapologetically in your face and ridiculously successful. He combines acrylic, oil and paint marker to create a variety of textures, which also add depth to his works.
A variety of misshapen and jumbled characters inhabit Alex’s canvases, and his figures are depicted trying out VR headsets, swimming with dolphins and windsurfing on a Papa John slice of pizza. Alex’s work is surreal, yet the topical and pop culture references he includes not only add humor but also keeps them grounded in a familiar sort of reality.
New York based Alfred Steiner describes his work as drawing influence from both “art historical and pop cultural sources, especially those with a penchant for the grotesque,” and lists Hieronymus Bosch and Homer Simpson among his inspirations.
Steiner’s cartoonish watercolors are made through a laborious process: he slowly gathers fragments of unseemly images—including those of toys, half-eaten fruit, rotting teeth, dead insects, sea creatures, artillery, and sexual organs—that he then pieces together into narrative compositions or resemblances of pop culture icons. Steiner’s practice is also informed by the artist’s prior 15-year career as a copyright and trademark lawyer, and his extensive knowledge of intellectual property regulations.
Aleksandar Todorovic is the child of the Serbian 90’s, meaning he has been exposed to a dramatic collapse of major moral and cultural values, along with the break-up of Yugoslav republic and the unfortunate war-colored years after. This period proves to be crucial in the formation of the artist’s visual language, as his learned impulse is that politicians equal evil. His style has been influenced by comics and pop culture, video games, and illustration, through which the artist endeavors in depicting the modern reality, such as it is – complex, crooked and festered with greed and ill will.
Keiichi Tanaami is a seminal figure in Japanese Pop art. “Most of my expressions are based on my actual experiences,” he has said. “The countless amount of stimulative experiences, happenings and encounters…they become the keywords of my expressions.”
Best known for his cartoonish and colorful paintings that blend dream figures and references to childhood experiences with pop culture iconography, Tanaami has also worked in video, animation, as well as graphic design and commercial illustration, drawing profound influence from the work of Andy Warhol.
Mwanel Pierre-Louis is an artist and illustrator based in Miami. His work is based from a graphic and color driven language of today’s pop culture and is mixed with realism and abstraction. The work is also derives from fashion, music, and people. He’s shown his works within Art Basel Miami in Dec 2014 to Tokyo, Japan in summer of 2013. Color is driven in most of his work and as well in his life.
Matthew Palladino has taken up multiple mediums, and considers each new shift as “another mutation of the thing that came before it.” Palladino first became known for his works in watercolor, ink on paper, and acrylic paint. He then moved on to three-dimensional reliefs, made in part from candy molds. Both his two- and three-dimensional works share a biting humor, variations on grid-based compositions, references to pop culture and art history, and optical illusions that distort spatial relationships. He cites his main influences as Margaret Kilgallen, Chris Johanson, and Barry McGee.