Adrian Landon Brooks (previously featured here) studied painting at the San Francisco Art Institute and currently lives and works in Wimberley, Texas. Brooks works predominately in the mediums of painting and illustration, using found materials such as wood, metal, and old photographs as his canvas.
“Creating otherworldly backdrops for mystical iconography has long been a driving force in my work. Wormholes, starscapes and portals serve as monuments to something greater than myself. Through the process of making this work, I attempt to share my vision of a higher power and purpose.” Adrian Landon Brooks
Portland based artist AJ Fosik (previously featured here) creates intricate, vividly colored three-dimensional pieces that reference folk art, taxidermy, and cultural ritual. Fosik’s wall pieces and freestanding sculptures of anthropomorphized animals are carefully crafted from hundreds of pieces of wood that he cuts and paints individually by hand. Once the basic forms are complete, he adds threatening teeth, claws, and eyes to give the objects an intimidating presence. Totems and fetishes, as well as the “random, chaotic and arbitrary nature of existence,” fascinate Fosik.
Samuel Salcedo was born in Barcelona in 1975, where he lives and works. Bachelor of Fine Arts, he studied at the University of Barcelona and the Manchester Metropolitan University in England. Since 1998 he exhibits in galleries and participates in international Art Fairs with 3 Punts Galeria. Since then he has had numerous exhibitions in 3 Punts Galeria, Galerie Robert Drees from Hannover (Germany), Osnova Gallery in Moscow, Soda Gallery in Istanbul or Can Sisteré Center for Contemporary Art, among others.
Salcedo’s sculptural work is characterized by technical excellence. One can see his mastery in the diversity of the materials he uses (resin, wood, aluminum) and which integrate painting, the discipline with which he began his career. His sculptures and characters always question the viewer with their subtle irony and vulnerability.
Brooklyn-based painter Torey Thornton creates abstract, crudely rendered forms to explore the picture plane as both a spatial field and a medium for conjuring images and sensibilities. Thornton rejects the canvas, instead preferring the textural possibilities of paper, found wood, and slatted panels, all of which serve as the grounds for spray and acrylic paint, as well as collaged objects. His paintings exhibit various influences, from color field and monochrome painting to biomorphic abstractions. Certain elements suggest recognizable forms—cars, the sun—while others are more cryptic, such as the repeated appearance of perpendicular lines.
Japanese sculptor Yoshitoshi Kanemaki carves life-size sculptures from wood, but with a twist of mortality and transience. The disturbing pieces hinge often hinge on grotesque as the combination of the bulging weight and density of wood heightens the certainty of death that looms over all his creations. Each piece, with sizes ranging from life-size to miniature, is first sketched directly onto a large section of camphor wood and then chiseled to match the absurd female form.
Nigerian-born, Brooklyn-based artist and designer Olalekan Jeyifous received a Bachelor’s degree in Architecture from Cornell University where his focus of study was primarily on investigating the relevant potential for a variety of computer software within the fields of art, design and architecture.
“Not My Business” is named after a poem by Nigerian poet, dramatist, and literary critic, Niyi Osundare. The title of the exhibition references the fact that Jeyifous has not been back to Nigeria since he left when he was 7 years old.
“Using rigorous Cubist geometric shapes, I freely juxtapose recognizable icons of the informal economy- from street vendors, industrial waste or power generators — with those of the post-Colonial Utopia-orderly State and social infrastructure– to create strange constructions in which time and space collide ambiguously.” Olalekan Jeyifous
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.
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.
Paolo Del Toro (previously featured here) is a sculptor and two-dimensional artist based in Lancaster, Pennsylvania. Del Toro’s felt sculptures combine realism with a grotesque cartoon aesthetic, resulting in works that depict bizarre, sometimes nightmarish faces and figures, yet still have a strangely inviting texture.
From far away, his sculptures look like they could just as easily be made with ceramic or stone. The artist has also worked in wood, and it’s really interesting to be able to see the similarities between the two mediums in the artist’s portfolio.
Zach Harris was born in 1976 in Santa Rosa, California. He received his Bachelor of Arts degree from Bard College in 1999 and his Master of Fine Arts degree from Hunter College in 2006. Harris’s painting conjures visions, in the sense that he imagines the inner tremors that remain unseen in the ordinary world, the vibrancy that animates our idea of something beyond us, whether an afterlife, a heightened state of consciousness or parallel dimensions.
His works, made from wood and often distinguished by carving on their surfaces, read somewhere between folk objects and aged devotional panels or even icons. They feel ancient, like riddles from another time whose keys have been slowly lost over generations.