Copenhagen, Denmark based gouache and watercolor painter Esther Sarto aka Miss Take combines elements of mother earth by coinciding them with our personal & social aspects of our lives. She often uses bare, entangled humans and plant-life to express her sentiments.
Minneapolis-based artist Mathew Zefeldt successfully balances improbable combinations – modern with historical, digital with classical, painterly foregrounds with computer-like backgrounds – all by densely rendering them in traditional painting techniques with oils and acrylics. The figures cohesively exist alongside more modern glitch aesthetics, shifting colors, garish patterns, and computer-like repetition.
“These figures are based around my own ideas of the fictional potential of paint. The entities often appear as illustrations of heaps of paint, objects covered in paint, cross sections of imaginary impasto paintings, classical statue heads that multiply into larger heads, studio detritus, or simply figures that are liquefied into gooey, lumpy, colorful painterly abstraction. Exploring the materiality of paint as well as its capacity for figuration, my paintings self-reflexively reinterpret the history of abstraction as a collection of codes to be referenced and reworked.” Mathew Zefeldt
Frances Goodman is a multimedia artist born in Johannesburg, South Africa. Working with objects commonly associated with female identity, such as acrylic nails, false eyelashes, and jewelry, Goodman explores how their habitual usage evolves into obsession and neuroses. Her humorously dark sculptures and installations suggest how self-conscious anxieties play a disproportionate role in governing women’s lives.
The repetitive and meticulous gestures used to make her works mimic the repetitive and meticulous labors of nail salons and beauty maintenance regimes. By employing these materials and efforts Goodman’s work draws attention to popular culture definitions that narrow the possibilities of female identity to extremes of consumption, aspiration, obsession, desire and anxiety.
In his paintings, graphic art, and photogrames Pavel Hayek focuses upon visual material at his direct disposal, which also reflects his approach to living nature and to things within his current reach and contact.
He does not want to attract attention to the exclusiveness of his models; quite the other way round: he focuses upon their ordinariness, their everyday character. Just the patterns the shapes of which we may not realize during the “normal”, the utilitarian contact, appear to be essential for him.
Beyond any doubt, the most important feature of these Hayek’s works is obviously his understanding of the whole picture area as a certain stucture sui generis.