Apak’s Microcosm Paintings

Apak is a husband and wife duo who live and work in Portland, Oregon. Aaron and Ayumi Piland produce vibrant scenes where tiny explorers seek out and cultivate miniature landscapes. These floating microcosms exist in an endless galaxy and depict an intersection of nature and technology in harmony. The paintings come across as hopeful reflections on our interaction with the world around us as well as the unexplored universe.  

Michael Steele’s Pop Culture Cluster Paintings

Michael Steele lives and works in Australia. He utilizes familiar elements from cartoons and films such as Back To The Future, Ghostbusters, Masters Of The Universe, and Star Wars to create pop culture cluster paintings. Typography, characters, weapons, landmarks, and other recognizable objects are consolidated into one large iconographic mass. Deciphering what the objects are sourced from allows for a dissection and assimilation of pop culture while also commenting on the bombardment of entertainment and advertisement.

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Ross Lovegrove’s Liquidkristal Glass Looks Like Flowing Water

Designer Ross Lovegrove teamed up with glass manufacturer Lasvit to create the new architectural glass panel. The panels take inspiration from natural forms. Using a high precision heat transfer process the crystal glass flows and optically shifts that which is behind it. People and objects look as if they are standing behind a waterfall. Colors warp and fracture throughout the surface. Organic shapes created by nature are processed into dynamic architecture.

Morgan Blair’s Psychedelic Brick Paintings

We have featured Brooklyn based Morgan Blair in the past (here). She continues to produce vibrant acrylic and spray paint works with a newfound focus on cultural symbols and iconography. The pieces are meticulously taped and painted to create perfect structures that build and collapse into familiar symbolic imagery such as the American Flag and the Yin Yang. One work presents exaggerated Nations of the World flag designs compiled into one bright pastel colored tapestry. Timeless symbols are warped and rendered into psychedelic compositions that are for her a fixation “…on uniformity and precision as a way of zoning out into a neurotic sort of meditation.”  

Simon Monk’s Encapsulated Hero Paintings

Simon Monk lives and works in London. He has an ongoing body of work entitled Secret Identity that consists of various action figures painted with oils exactly to scale. Depicting these figures within a plastic confine allows for a reflection on consumerism and  commodification. These encapsulated mythic heroes are simultaneously honored and belittled.

Daniel Kukla’s Landscapes Reflected In Mirrors

We have featured Daniel Kukla‘s Captive Landscapes project here in the past. In his newest project entitled The Edge Effect Kukla utilizes a mirrored effect to reveal new compositions within environments. Using nothing but a large mirror and a painters easel Daniel forces an Edge Effect. This term is used in the field of ecological sciences to describe the juxtaposition that results in the meeting of two distinct ecosystems. He describes the process as “Using a single visual plane, this series of images unifies the play of temporal phenomena, contrasts of color and texture, and natural interactions of the environment itself.”

Jesse Greenberg’s Urethane Plastic Sculptures

Jesse Greenberg lives and works in New York City. He utilizes a wide variety of materials to create foreboding structures that reference the natural world as well as the artificial. The majority of his work is made from plastic and displayed so that viewers may touch what they see as the tactility of the work adds to the experience. Greenberg takes a cheap mass produced material that many take for granted and morphs it into deteriorated monuments that comment on consumption and decay.

Anoka Faruqee’s Infinite Space Paintings

Anoka Faruqee lives and works in New Haven, CT. She meticulously paints large representations of three-dimensional color fields. Many of these works feature a reoccurring six pointed asterisk or three pointed tripod rendered countless times by hand without the use of rulers. The shapes derive from Islamic tile geometry which she describes as “…someone centuries ago spent a good amount of time playing with a ruler and a compass, I can lift from that tradition a kind of readymade handmade pixel.” Combining mathematics with manipulated shapes she evokes digital technology visuals and leads the viewer into the infinite.