Stacey Rozich paints a folkloric narrative that draws inspiration from many cultural references, building scenarios pulled from a realm of familiar fictional archetypes and traditions. Influence is taken from travel, world textiles, childhood memories and the many many hours spent watching television. All works are created in watercolor and gouache.
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.
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.
Santa Rosa, CA based Justin Margitich works with watercolor, colored pencil, and acrylic on paper. Margitich draws from anthropology, taxonomy, geology, and alchemy creating abstract paintings that offer special depth and opposing textures that force the viewer to be engaged.
In each work, brightly hued, organically flowing gradients are arranged in seemingly impossible configurations. Upon close observation, the inorganic plastic qualities of the artists’ materials become apparent to the viewer. Throughout the exhibition, these fluctuations between organic and inorganic are subtle reminders of where we find meaning in the order of our contemporary culture.
illustrator and graphic designer Simón Prades lives and works in Saarbrücken, Germany and teaches illustration at the university of applied sciences in Trier. He says that he prefers to work with analog mediums such ink, pencil and watercolor to help express his fantastic imagination that explores ideas of nature, memory, and dreams.
His work is often a combination of detailed and complex drawings and narrative ideas. Depending on the subject his illustrations can also be rough, spontaneous and moody.
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.
Amy Park is known for her carefully rendered, large-scale watercolor paintings featuring iconic architecture. She works almost exclusively from photographs. Her subjects have included Donald Judd’s structures in Marfa, experimentally designed homes in California, and other icons of Modernist architecture. Her best-known series is based on a famous series of architectural photos by Julius Schulman; while Park faithfully reproduces Schulman’s original compositions, she selects the jeweled colors based on her recollection and interpretations.
Another body of works was inspired by the New York City urban landscape, with particular attention paid to repeating textures and patterns. These works were based on Park’s own photographs of major landmarks and skyscrapers, reimagined with more intensely saturated hues.
Los Angeles based Masami Teraoka‘s early work consisted primarily of watercolor paintings and prints that mimicked the flat, bold qualities of ukiyo-e woodblock prints. These paintings, done after his arrival in the United States, often featured the collision of the two cultures. Series such as McDonald’s Hamburgers Invading Japan and 31 Flavors Invading Japan characterize themes in the work in this time period. These pieces blended reality with fantasy, humor with commentary, history with the present.
He has abandoned this style in favor of Western European religious iconography, in tune with his cultural and political critique of contemporary culture, particularly its confessional quality in America society. Teraoka’s work has been reviewed, collected and exhibited throughout the United States and abroad.