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Technology has hijacked our reality. These artworks explore the deleterious effects of computerized corporate environments on the human psyche. The historically sterile rationality of the office and its archaic technology dissolves into a mundane and gaudy nightmare. The figures that inhabit these visions assume a soulless “narcotic gaze” in a desperate attempt to survive accelerating change in an imploding world. Painting is, for me, a deliberate return to process—a practice that is often rendered obsolete by emerging technologies and the race for greater productivity and efficiency.
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My artwork attempts to take order, ordered systems and ordered patterns and shake them up. Nothing is perfect, even though things are modeled in perfect mathematics there are always tiny, sometimes microscopic, imperfections. Incorporating these imperfections into pure algorithmic systems creates a sense of order that we crave visually, but provides a warmer more natural feel that is unavailable through equations alone.
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Chaos manifests itself alongside form in my work. Chaos is powerful in that it is beyond human control; specifically, it interests me in depiction as catastrophe - as the uncontrollable and random force of natural cataclysms. I enjoy the emergence of fragments of imagery in relation to a destructive force - they become reduced and ephemeral, they are representative of the momentary and transient. However, according to the scientific study of chaos, it is the minute and transient that manifest as larger factors, further down in the equation, in the study of matter.
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I see each human figure as a unique challenge; I am coaxed to find the unique relationship between the shapes and tones that give the particular subject it's subtle appeal and unrepeatable vitality. My paintings are not photographic representations of my subjects but rather are my elaboration of what I find to be of value in them.
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Every living creature takes possession of its space, a basic gesture that expresses equilibrium and harmony. The subjects in my paintings are simply part of everyday life in the Great American West. In the neutral, reassuring setting of our homes, we see them almost without noticing. Along the way, we discover that every presence in this harsh environment is a victory. My paintings are a language I use to communicate the chasm between the American West, as Folklore would describe it, and the contemporary Western experience.
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i don't know what to say, if it's in my head, i try and get it out.
it's been this way since i was a child. :)
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Tom Bache-Wiig born in Oslo 1942. Lives and works in the small village Eivindvik, on the western coast of Norway, located at the inlet of the Sognefjorden. Paintings (oil and acrylic), graphics and sculptures.
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I love symbolism in art. It allows myself as an artist to embody all that I'm feeling and thinking into a character/object/scene. From that point it has a life and dynamic all of its own. With that said, I often find more meaning in the symbol from when I started it.
I like to create art based on my first impression/expression of my current immediate state. I believe it has to be done, sketched or even simply written down that minute. It cannot be forgotten. There's a distinct clarity and honesty of thought when one does something for the first time. It's a clear reflection of not only what one perceives but the insecurities that one may ignore. Without honesty art does not have chance.
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I am currently working on a series of Presidential paintings which will include the entire corpus of American Presidents. During my research on Early American history, I found my self intrigued by the visual impact of our collection of Presidents. A medley of men, particularly of a homogeneous nature. Musty images of our Presidents often remind us of our awkward middle-school days, memorizing names and dates, scenes of war, and high society from a time long past. I am interested in re-exploring the presentation and representation of our Nation’s past and our future.
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The main tenets of my work include my desire to engage the viewer in my technique; Color is another big thing I think about while I'm working.
My subject matter actually concentrates on portraiture and behavior. I'm currently working on a series called "Black Fruit" that chronicles my discoveries in dating living as a gay black man living in America.
My paintings, as most call them, are actually hard pastel, colored pencil and charcoal drawings. I think it's pretty cool that people (some of my teachers when I was in school, even) think they look like they've been painted.
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Sylvea Johnson is a young emerging artist from the Seacoast area of New Hampshire whose work is primarily based around building up shapes and forms in a mixture of neo-psychedelic colors, lucid shapes and tonal transitions. Sylvea has always been interested in apophenia, the experience of seeing patterns in random data, and pareidolia, which is our condition to see faces and objects in forms such as clouds or inkblots. She has stated she tries to hypnotize the viewer into searching her art for its meaning by keeping each piece lucid.
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Influenced by the vivid color and emotion of Vincent Van Gogh and the whimsy of Dr. Seuss, Denver artist Tracy Weil's playful paintings live in a passionate, colorful world. On Weil's oversized canvases, brightly painted ruralscapes merge with loopy uncertain figures and tall, vibrant sunflowers.
Painting for over 20 years, Weil's work is distinctive for its bold use of color. Unabashed ans expressive, Weil's his zest for people and life emerges clearly in bright works thick with paint.
Art grows here, in Weil's playful but powerful world. When in Denver visit his award winning studio in the River North Art District.
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Born and raised in Caracas, Venezuela. Is a visual communicator from ProDiseño (Caracas), is now opting for a Master in Fine Arts in Design and Technology at Parsons The New School for Design in New York City.
An artist, dreamer, looking for new things to try and ways to express herself.
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In her evocative artcard series, "Girls", Anne Sherwood Pundyk adeptly captures girls defining themselves as they shift from girl to woman. Based on the artist's "Girl Paintings", her fluid brushstrokes and the warmth of her palette evoke the limitless opportunities and unbridled freedom of youth. Pundyk's girls radiate self-sufficient strength and beauty. Their deliberate gazes and organic poise suggest depth of character coupled with a willful confidence that hints of future discoveries on their own terms, for "Girls" is a story without end, through which Pundyk proves herself both a skilled painter and thoughtful storyteller.
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"Fminus" became the adopted artist name for Ryan Gibson when in 1995 he became disenchanted with an ill-funded, poorly taught high-school art program. The name that started as a self inflicted poor grade mark would stick with Ryan and over the years its meaning has evolved along with his art. Fminus, or simply f-, can at once be very negative and hopeless, yet it has become a very positive starting point; With expectation so low, there is only one obvious direction for improvement. Fminus art may best be described as fractured pop cubism that addresses failed personalities and social systems.
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Light, colour, form and atmosphere are my main focus, music, travel, books, and DJing my inspiration :)
If you like what you see and want to know more please visit www.mokelly.com
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Scott B. Rosen is a Queens, NY based artist and photographer with a passion for texture and culture and the mix of the two. Instead of using actual oils as in his past work, Scott has begun painting with his mouse and a bit of imagination to alter, cut, chop, paste, brush, and transform his photographic scenes as he once used to do with his hands. His recent series include masks from Thailand, graves from Guatemala, and surfaces from Brooklyn. All his current works are printed and stretched on canvas.
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Originally from Long Island, NY, Jeremy Bacharach moved to Chicago to attend The School of the Art Institute of Chicago. At SAIC he was Art Director of F News Magazine, winning several national design awards.
By day, Jeremy works in interactive design for one of the largest agencies in the world, while also maintaining a small boutique practice designing for indie bands, cafes, and the like.
By night, Jeremy creates in a variety of methods—painting,
drawing, photography, and digital media. Inspiration often comes from vintage pop culture and from frequent trips to Mexico with his wife Ana, a writer. Many ideas are sparked by their creative collaboration, and an earlier version of Sirena del Desierto was made for her.
Read more about Jeremy Bacharach on 1800tequila.com »
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Barr is one of Detroit's most celebrated and successful underground artists. His paintings have appeared in galleries from LA, Seattle and San Francisco to New York City, Germany and Italy. Barr's work has been featured in a variety of comics and graphic novels from Mad, DC Comics and Paradox Press as well as in a successful series of self-published books called HEEP. Barr's contributions to animation include background styling for The Ren and Stimpy Show, Bjork's I Miss You video, and The New Woody Woodpecker Show to name a few. His paintings have been reproduced in the periodicals Big, Film Threat, Hi Fructose and NY Times. The 2003 book, Lowlife Paradise: The Works of Glenn Barr, published by La Luz de Jesus Press & Last Gasp was met with great success. This book had a brother born at the same time entitled The Lowlife Companion: Selected Drawings from Glenn Barr. His latest book which is already in it’s second printing is a comprehensive collection of paintings, drawings and photographs entitled Glenn Barr’s "HAUNTED PARADISE". This collection spans 4 years of work were the previous book left off and is also published by La Luz de Jesus & Last Gasp.
Glenn Barr's surreal creatures, specters and tragic characters live in a seedy universe, drenched in the grit and haze of a post-apocalyptic urban dreamscape. His Detroit work has been labeled Pop Surrealism, Lowbrow, Regional, Outsider, Ashcan or as he coins the phrase “B Culture-ism”. Barr finds inspiration in the city streets as well as from pop and counter cultures that infuse a familiarity in his many parallel realities. With a nod to old master painting, pulp art, and cartooning, Barr's paintings are mesmerizing in their narrative complexities and technical depth.
Read more about Glenn Barr on 1800tequila.com »
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"Aye, the rolling hills." - The British landscape is an archetype of beauty. It’s flourishing vegetation weaves together the rolling hills and streams in perfect harmony. It’s more of an abstract composition from a distance, one that showcases the natural beauty of Britain.
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Gawker Artists