Ryan Mosley’s distinctive visual language is rooted in its timeless qualities; archaic skulls, top hats and fig leaves collide with anthropomorphic limbs and futuristic, shamanic figures that create a bewildering backdrop in which anything is possible. Ryan has a show up at Alison Jacques Gallery in London from July 15th-August 13th 2011
I’m not exactly sure of how I feel about these digital expulsions by the Poster Company. I think my reaction came in 3 stages: first oscillating between questioning the validity of their artfulness, then awe at the convoluted jungle of pixels, then back to confusion again.
For 3 months of the year, Corey Arnold is a commercial fisherman. For the rest of the time he travels around Portland, Oregon and the surrounding areas photographing the wildlife in a very sincere and earnest way. Beginning his life at sea, he first worked as a deckhand on a crabbing vessel in Alaska in 1997, and from then started documenting his experiences in an on-going series called Fish-Work. In it, Arnold captures the lifestyle of the commercial fishing world, filled with images of men in neon colored rain jackets, bundles of ropes, dead bait, enormous waves, monstrous fish and hoards of birds.
In his new series though, he has concentrated just on animals and their personalities. The exhibition Wildlife is as unpretentious as it sounds. Arnold has been able to become quite intimate with his subjects, capturing bears, birds, seals, sharks, and moose all in a relaxed, natural state. Spliced with images, once again, from the fishing world, we get a good idea of how seamlessly Arnold fits into his environment. It seems the animals caught on camera don’t notice the presence of this human one bit. The artist reflects on his obsession with the wilderness and also his ability to go unnoticed within it:
I harbored a deep desire to be an animal living in nature and I didn’t have far to travel. The lush gully in my backyard, just out of sight beyond a thicket of poison oak, was home to coyotes, raccoons, possums, stray pets, snakes, lizards, rats and crawdads. Any bustling in the bushes was a potential mystery to unravel or a prey to stalk. I was a particularly curious child, an amateur wildlife tracker, behaviorist and hunter who often pressed the boundaries of human/wild animal proximity. (Source) (Via Super Sonic)
Is that an amazing relief print I spy? I do believe it is!! Dennis McNett puts his impressive carving ability to work, making striking woodblock prints that tend to include mythical animal imagery. McNett, who teaches printmaking at the Pratt Institute in New York, has also designed killer graphics for Vans, Anti-Hero skateboards, Volcom and Adidas, so you could say that he’s got the serious skills to pay the bills.
Like most people, when I was a kid I loved playing with a kaleidoscope. Pointing it at different light sources and twisting the chamber caused a morphing geometric mandala to take shape before my eyes, magically shifting sunshine and the colored bits inside into a series of hypnotizing designs. The same part of me that was enamored with a kaleidoscope is the same part of me that loves juicy colored highly geometric contemporary art.
As the highly influential artist and color theorist of the Bauhaus, Josef Albers, says so succinctly in his classic book Interaction of Color, “As with tones in music, so with color- dissonance is as desirable as its opposite, consonance.” The dance of tension and fluidity in an ever changing kaleidoscopic pattern is a rhythm of light and hue, which there is an abundance of in contemporary art. There are so many artists out there these days who use these components in their visual art, however the five artists included here emerge with unique strength, vision and technical ability that is worth noting. Artists include: Dalek (James Marshall), Maya Hayuk, Richard Colman, Amanda Airs and Jeff Depner
Kwon Kyungyup’s figurative paintings reveal an unassailable world of sensuality, duality and emotional imprisonment. She approaches her figurative paintings in a way in which her subjects are depicted almost as inhuman and immaculate beings, as if the body is merely a storage for deep memories of pain, loss, and trauma. Her paintings represent wounded souls sheltering within bandaged boys and girls. The bandage-covered faces are symbolic of a wound the body remembers: a spiritual, ontological wound that purifies or sublimates emotion. In Kwon’s work tears are positive equipment for delivering emotions. The eyes of the figures are focused on the object that brought the sense of loss. Pearls similarly stand in as tears and as a metaphor for the meaning of emotional purification, curing, and sublimation. These works are exquisite and intimate portraits of human frailty and resilience.
Josh Evans is a Los Angeles based illustrator who works his pieces from varied sources of inspiration; a music icon, the meaning behind a word, an historical yet obscure event. I admire Josh’s illustrative methods which change from one work to another… he seems to choose a medium best fit for the story of his subject. Don’t miss Josh’s recently published zine titled Rankle Jones, and the curious history of how this publication came to pass.