Bo Bartlett is an American realist with a modernist vision. His paintings are well within the tradition of American realism. Bartlett looks at America’s heart—its land and its people—and describes the beauty he finds in everyday life. His paintings celebrate the underlying epic nature of the commonplace and the personal significance of the extraordinary.
New York based artist Jean-Pierre Roy (previously featured here) paints surreal scenes that deconstruct the known world. His work is often associated with science fiction, depicting alien wastelands inhabited by colossal humanoid beings, their bodies laden with geometric shapes, holographic projections, and mirrored panes. Rather than ascribing to science fiction specifically, however, Roy is more interested in fostering a critical, creative space that allows us to examine the systems of knowledge that construct reality.
Yunmee Kyong draws and makes human, birds, gods and many other things around her. she eats lot of things around her too. She was raised in Korea and ventured out to study art to London drinking many cups of tea and to New York eating lots of big hamburgers. Yunmee would love to live in igloo someday with a polar bear, a parrot, cows and sheeps. She does illustrations for magazines and children’s books and makes small books.
Josephin Ritschel is an illustrator living and working in Berlin. In Josephin’s illustrations, fine lines, dark lines, little lines, lines on lines, and a few blocks shading all build up to make these incredible images full of life. Whether its spooky or sombre, funny or lonely, the scenes she creates have a real sense of energy and all tell their own, often bizarre, story. The illustrations are colored in with the kind of precision that children can only dream of when they try to stay within the lines of their coloring books.
The paintings of Irish artist Genieve Figgis are possessed of a wicked, unmistakably Irish sense of humor. They ironize our attitudes to conspicuous wealth, land ownership, and social hierarchies by reimagining canonical paintings—commissioned to preserve the glory of their subjects—as nightmarish scenes, suggestive almost of depravity.
Her scenes depicting bourgeois homes, traditional portraits, or landscapes are often haunted by spectral figures and leering creatures with canes and top hats. A sense of the charmingly macabre emerges from Figgis’ combination of an apparent pictorial banality with dreamlike qualities.
Olivier Bonhomme is a talented art director and illustrator based in Montpellier, France. He graduated from the Ecole Emile Cohl in 2010 and has been working with different clients, newspapers, and studios as an illustrator and art director.He co-founded in parallel the BK studio in 2012 in which he produces digital art research facilities and devices for applying the image to the scene. Bonhomme is a fan of jazz and a saxophonist for the past twenty years. He tints his universe with the sound of bebop and swing.
Many of Jon Boam’s characters sport animal heads or conical hats, but his fascination with otherworldly architecture, his twists on conventional fantasy designs and his unsettling cyborg creations add a richer, darker note to his illustrations. Simple, almost child-like images grow out into intricate narratives, and almost-familiar characters find themselves in unexpected scenes.
His illustrations play with complex eccentricities, blending architecture and biology in a single character design, packing his subjects with outlandish objects and inviting us to guess at their purpose, and taking a simple scene and adding two degrees of weirdness where one would be comfortable. He makes it difficult to separate the technological from the mystical and figure out where humans end and machines begin.
Fulvio di Piazza studied at the Urbino Art Academy and makes large oil paintings of fantastical scenes with lush forests, spiraling volcanic smoke, islands in the sky, and vividly colored sun light. His paintings are a prime example of horror vacui, a term for filling an entire surface of an artwork with detail. Amid these, there are frequently large floating heads or animals floating in the center of his canvases, which upon closer inspection are actually composed of delicately and minutely detailed landscapes. Di Piazza has favored a dark palette for his paintings, and the abundance of swirling clouds has led people to interpret his works as pessimistic.
The focus of Andrea Joyce Heimer‘s work is narrative painting. Much of the work speaks from her status as an adult adoptee whose records are sealed, meaning she have no access to her own biographical, birth, and heritage information. The narratives represent different perspectives of her experience as an adoptee: first-person autobiographical, the outsider-looking-in neighborhood observer, the archetypal orphan (the charming tramp). Self-authored mythologies of her own origins as well as mythologies of her home state, Montana, are interwoven with these themes.
The figurative elements focus on the interactions between human beings in moments of disconnection or detachment. Emotional themes of loneliness, anger, and longing are performed in symbol-laden environments including houses, yards, forests, and bodies of water. The distinctive flatness with which the scenes are rendered recall the flattened perspective of medieval art and speak to the “flattened” experience of the adoptee, whose lack of background knowledge represents a deficiency of depth to one’s selfhood.