Ricardo Bojorquez is an artist and graphic designer in Los Angeles. His latest artwork, Feedback Occurrences, uses standard materials, common techniques and everyday electronics to create an inventory of interactions. As a graphic designer, Ricardo’s practice is messy and defiant of the typical grid-like structures and legibility we are all taught to praise in design school, while still feeling so deliberate and well communicated. Ricardo received his MFA in Media Design from the Grad Media Design program at the Art Center College of Design in 2012. In 2011, Ricardo was invited to the Werkplaats Typografie / ISIA workshop in Urbino, Italy, where he studied under the mentorship of Armand Mevis, Maureen Mooren, Leonardo Sonnoli and Karel Martens. Ricardo is a partner at The Rare Studio, a studio for design and research that works within graphic design, interaction, and architecture. All of this work payed off as just last week he was honored with the prestigious recognition of being named a “Young Gun” by the Art Directors Club.
Good luck finding this guy on the web. Heres a hint: he’s NOT John Mooney the blues guitarist. Aren’t these oil paintings great though? His shows covered Scotland, Helsinki, London and Poland, Contemporary Art Society, Scottish National Gallery of Modern Art, Scottish Arts Council and Dundee Art Gallery.
Noah Becker has curated a sweet show of Canadian artists, Six Degrees of Separation, at Claire Oliver. It’s nice to see what’s happening in the Canadian metropolises of Vancouver and Toronto, and the bulk of the artists are from these two cities. The show covers a wide range of approaches, from the pop-optical abstractions of Ben Van Netten to Becker’s own highly detailed ink drawings. Becker’s drawings make a nice metaphor for the artists he selected for the show; he’s making connections and building relationships that go beyond superficial resemblances. Six Degrees will be up until November 13th.
The people pictured here are not modified, mutilated, or even Photoshopped. Rather they are only covered in acrylic paint. The Artist Chooo-San carefully paints extremely realistic extra eyes and mouths, zippers, cords, and plugs on directly on to the bodies of her subjects. Her work is so realistic, it’s nearly disturbing at times and surprising it isn’t digitally manipulated. She says:
“But I guess I was a little sick of everyone making pictures with their computers and wanted to see how far I can go without those technologies such as Photoshop. My works are all done with acrylic paints. They are all painted on skin directly and I don’t use computers or anything to change the picture afterwards.” [via]
New York artist Drew Conrad sources materials to build these eerie and beautifully disturbing structures that carry their mood with them. Using salvaged materials to complete these haunting renditions of exteriors and interiors long since passed, he constructs a narrative of loss and despair, or even of just the forgotten. These planks of wood articulate their own meaning of history and the viewer can’t help but get lost in the mood that surrounds one of Conrad’s shows.
“Conrad’s architectural sculptures and hanging assemblages in Backwater Blues seem to be the somber ruins of a once vital place. Constructed out of raw material – distressed by hand with rust, debris, stain, and sediment – Conrad creates dwellings and remnants of domestic spaces that appear corroded by time. The fractured interiors and exteriors become sites for identity making, serving as metaphors for psychological reflection. Reoccurring themes of legends underpinned by myth and assumed cultural pairings suggest a questioning of collective memory in contemporary times.”(Excerpt from Source)
Melissa Godoy-Nieto is a multidisciplinary Mexican artist and designer based in Brooklyn, NY. Born in Tijuana, Mexico, Godoy-Nieto incorporates pre-hispanic history, art and hieroglyphics with traditional crafts and materials that she uses in untraditional ways. For her installation at SPRING/BREAK art fair earlier this year Godoy-Nieto painted the inside of a closet with a bright mix of mystical South American imagery, focusing partly on life, and partly on death. Though she references the vibrant palate, dynamic and hand crafted aesthetic of Mexican culture, her works employ unusual techniques and structures, making the final product relevant and contemporary.
Her “textiles,” which she refers to as paintings, incorporate imagery from traditional Mexican imagery and patterns, but are made with untraditional materials. Taking the concept a step further, Godoy-Nieto will sometimes link her paintings to spray paint cans using hand-dyed yarn and pushpins. Describing the works as “experimental murals,” Godoy-Nieto toys with a viewer’s sense of how the work was made; conventional imagery is presented as being created in an unconventional way. Initially, a viewer might believe the work is made with spray paint, but then he realizes the spray paint is yarn and had nothing to do with forming the actual image. By challenging expectation and altering dimension, Godoy-Nieto’s process directs the way in which a viewer might interact with or perceive the work, and thus the way he might consider traditional iconography within a contemporary context.
C E R A S O L I gallery is pleased to present a pair of exhibitions by two artists producing graphically bold works that blur the distinctions between the natural and synthetic worlds: David O’Brien: ‘Explosions in a Mental Sky’ in Gallery One and Tofer Chin: ‘Double Dip’ in Gallery Two.
Opens March 14, 2009, and remains on view through April 15, 2009. Opening reception is Saturday, March 14, from 6 – 9pm.
Tony Matelli’s hyper-real sculptures of meat and vegetable portraits, sprouting weeds, stacked cards, sleepwalking humans and malicious chimpanzees captures your attention with immediacy, a visual poignancy that would make it hard not to react with curiosity and amusement. This initial response opens the door to a slightly somber and disturbing environment where each series tackle concepts of death, resurrection, failure, pessimism, loss and reinvention. Matelli’s own personal concerns are projected onto these works buliding a relationship between object and artist that is further extended to the public.