Steve Ferrera received his BFA from UCSC and his MFA from SJSU both with an emphasis in sculpture. His work crosses many disciplines including film, television, stop motion animation, children’s books, and collectible toys. Often inspired by mythology, religion, cartoons, and make believe, his curious and absurd creatures exist in their own cosmic events, lurking on the fringes of fairy tale and folklore. He lives in Berkeley California with his one-eyed cat.
Beijing, China-based Yang Maoyuan is well known for his large and diverse body of work encompassing painting, sculpture, photography and installation. He often explores the shapes and misshapes of human and animal bodies. His spherical horses and other bloated animals are widely known.
Masao Kinoshita draws much of his inspiration from diverse mythologies, religions and folklores from around the globe. Fusing narratives across space and time, the horned maenads of ancient Greece live alongside the Yoga Asura deities of Buddhism in a visceral, animalistic universe where fitness reigns supreme.
Kinoshita’s sculptures stand skinned and erect. Working with materials ranging from wood to resin to bronze, the Japanese sculptor uses an aesthetic we normally associate with natural history museums to render athletic, flexing creatures of the sea and land.
New York based artist and musician Brian DeGraw intersects art and music in his drawings, installations, videos, and sculptures. He draws subject matter for his work from his encounters in New York’s experimental music scene such as in Untitled (DJ Requests)(2007), a framed collection of paper scraps with scrawled late-night song requests. DeGraw’s experiences in one discipline inform his production in the other.
Santissimi‘s work (Antonello Serra and Sara Renzetti) looks at the art as an operational machine in which the forms are comfortably reflected in the definition of “philosophical empiricism in the art”. Philosophical empiricism means putting into practice the knowledge, to perform an operation of thought, or to be more precise translate into visual terms, linguistic and conceptual thinking in scientific and philosophical matters.
Arne Quinze is a Belgian conceptual artist best known for his unconventional and controversial public art installations. Quinze also creates large and small sculptures, drawings, and paintings. In his late teens, he started out as a graffiti artist in Brussels, and he never completed a formal art education.
In every culture Quinze comes across, he unravels physical processes, drawing inspiration for his oeuvre, and is fueled by overwhelming optimism. Every new creative breed captures his research and study on interaction, and urban movement expressing the continuously evolution of human beings and their surroundings. Besides building architectural sculptures, he creates complex art pieces and video installations inscribing his vision in society of how people see themselves and society.
New York City based Ted Lawson reveals a persistent interest in the human body. His art investigates processes related to the physical body such as growth, its needs, its decay and death. Lawson strips individuality from his subjects while simultaneously forcing character through implications of the viewer, and therefore, complicating the very meaning of identity.
Using figurative representation and geometric abstraction, Ted Lawson creates a narrative progression of forms that reveals something conceptually greater than the sum of their parts. Ted’s large scale works combine digital technology with highly crafted traditional sculpting methods to seamlessly produce conceptual objects that express the underlying analog truth within his subject matter.
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.
While working at punk music venues as a teenager in Copenhagen, Rose Eken developed a fascination with concert detritus. The objects she was made to clean up after an event (cigarette butts, drug paraphernalia, beer cans, discarded clothing, and lost cell phones) became emblems of punk rock culture, which she now reproduces in the form of hand-painted ceramic miniatures.
Sculpting objects found in concert halls, kitchens, studios and similarly ubiquitous locations, Eken methodically replicates detritus often placing them very systematic in a grid, suggestive of scientific categorization. Her arrangements and sheer amount of production assume an anthropological quality, documenting and preserving the relics of a culture and celebrating a history in process.
Rachel Kneebone’s intricate works address and question the human condition: renewal, transformation, life cycles and the experience of inhabiting the body. Kneebone’s sculptures operate in a near-subliminal space, oscillating and blurring the boundaries between the conscious and the subconscious, the real and the imagined, everything and nothing.
Working in porcelain, the material properties of her work further heighten and convey an awareness of opposing states, appearing to be not only heavy, solid and strong but also light, fragmentary and soft. This fluid movement between states is reflective of the wide range of art historical and literary sources that inform the artist’s practice.