Ian Larson’s works are incredibly congested with raw, dirty, crude energy. I almost feel too shy to really observe his paintings. The way Ian paints so thickly onto his canvas, almost has these exposed, and humping characters pop out of their environments in an attempt to keep you from looking away. Definitely attention grabbing.
Observing Brendan Flanagan’s paintings is like walking through a dark dream of regrets, fears, and loneliness. Vague, human-like figures in physical, emotional, or silent turmoil completely transient within their own surreal environment.
Dictaphone Parcel is an animation based on a sound recorded with a dictaphone travelling secretly inside a parcel. As the hidden recorder travels through the global mail system, from London to Helsinki, it captures the unexpected. We hear a mixture of abstract sounds, various types of transport and even discussions between the mail workers. The animation visualizes this journey by creating an imaginary documentary. By Lauri Warsta
Sam Green’s illustrations are a collage of the best of traditional skill and digital embellishments. Though he does often combine two different worlds together (traditional vs. digital, realistic vs. contorted, and serene vs. avant garde,) they are all held together by his consistently fluid style.
The incredibly improvisational Los Angeles-based duo, The Clayton Brothers (aka: Rob and Christian Clayton,) create autobiographical and narrative pieces of work through an intuitive process. One brother will start a painting, pass it on to the other to work on, and go back and forth until the painting comes to a finish. What I genuinely enjoy about their work is that though they work in sync through a shared childhood, they don’t try to recreate it. They look into their world as the adults they are now, which is what I feel makes their work so dynamic.
Adam Friedman is a painter who is drawn to the similarities between the geologic process and human institutions (financial, governmental, etc.) He is interested in showing a million years on one canvas through the changes the surface, ridges, etc of the earth undergoes through time. But more importantly, he attempts to show a world that is healed of the human intervention it is currently suffering.
If the black mask on the cover wasn’t an indicator to you that theme was unorthodox, then I don’t know what is! It’s definitely interesting how he places a black mask over the faces of his subjects. In the one instance that he doesn’t, he removes the model’s eyes. Just a little creepy. Maybe it’s a shot at the fashion industry or maybe a comment on the concept of beauty itself. In any case, Bryan Schnelle’s work has definitely struck a nerve with me.