Mixing an admiration for John Baldessari with her own childhood memories of cutting/altering magazines with her mother, Flore Kunst creates captivating collages from vintage postcards and magazines, while sprinkling a few contemporary clippings throughout. A graduate of Emile Cohl for design, Kunst’s eye for intriguing detail and clean lines is evident; however, it’s her creative visual juxtapositions that truly capture our attention most, allowing us to meditate on the female form and its signifiers from era to era– how it all clashes and confuses even the most contemporary culture and its psyche.
Inspired by her Oakland surroundings and the mysterious life of collected objects (from homeless shopping carts to a public disposal & recycling area), Amy Wilson Faville collages her own drawings in with an assortment of vibrant materials such as old mattress fabric, file folders, vintage wallpaper, and other scraps. Comparable to quilt-making, Faville’s compositions incorporate consistent patterns with eclectic pops of color, conceptually mirroring her subject matter.
Speaking on her Carts series specifically, Faville states, “My goal was to use the power of beauty to transform images of squalor into splendor.”
A. Ruiz Villar parcels out space in relation to geometric positions, with minimal pops of color threaded throughout. His subtle gradations of white give special depth and age to the work so imagery doesn’t feel flat, but formed, or architecturally emerging. These vibrant compositions are not easy to visually choreograph– however, Villar makes it look beautifully accidental and organic.
Of his work, Villar’s stance seems like a conceptual mash-up of science, math, and poetry, suggesting it “revolves around the quest for a language akin to the following factors: 1.1.1. Provisionality (doubt): Lack of an evident purpose. 1.1.2. Continuity: There are silences, there’s no rest. 1.1.3. Uprootedness: There’s no commitment to technique, structure, or materials.”
Whether it’s hand painted, collaged, and/or sewn together, Jenny Toth imaginatively entwines colorful drawings of the animal kingdom to meditate on a sometimes humorous, and always surreal study of the female condition.
Of her work, Toth states, “For many years I have been intrigued by the way women artists choose to depict themselves. Like many other artists, my view dramatically differs from a historical approach to the female model. I choose to include elements not traditionally viewed as beautiful—for example, a deformed toe, hairy legs, unkempt hair. However I have no interest in shocking the viewer, but seek to share my honest, uncensored observations. I have always been allergic to pretense and slickness.”
London-based artist Julie Cockburn revises old throw-away photographs and paintings with embroidery thread, shears, and other sundry items to create new contemporary curiosities. Each delicately considered piece contemplates craft culture in relation to the industrial age or mass production, and the identities that roam invisibly from one transmission to the next.
Of her work, Flowers Gallery suggests, “Julie introduces ideas to found objects that generate dialogue about modernity and art history, gender and identity, nature and urbanity and the relationship between process and idea.”
Margaret Nomentana’s nonrepresentational art demonstrates a fascinating balance between emotionality and restraint. Often working in a spontaneous manner, and sometimes working on several paintings simultaneously, her imagery reflects moments of clarity, caught in the act of vision and revision. Whether it’s collage or acrylic painting, her gestures evoke “abstract landscapes of the mind” or terse conversations with color and movement.
Of her own artistic desires, Nomentana states, “My strong minimalist impulse is tempered with a dry sense of humor, irony, and in spite of everything, a powerful sense of hope. Alma Thomas is my hero.”
Artist Fabienne Rivory combines photography, collage, and painting in her work. She often blends two images of landscapes or scenes by bisecting and combining them as if they were reflections of one another. A touch of gouache paint is then digitally added to the photos and completes each of her pieces. The effect on the landscapes is a bit disorienting but familiar. Her work doesn’t seem to document places or times as much as it documents a feeling. The bold color of the gouache contrasts against the black and white landscapes, each pulling something out of the scene, each evoking something different. [via]
Wyatt Kahn’s wall sculptures are built from a series of stretcher panels and raw canvas beautifully pieced together to make one collaged structure. The crevices and peeking back wall help create compositional depth, captivating the eye, revealing clean and simple, yet geometrically intricate work, which is devoted to the complex juxtaposition of space more so than color.
Of Kahn’s art, Sam Cornish writes, “Broadly the type of illusion Kahn employs is one that comes after the reduction of minimalist painting. The flat, object quality of each part is in one sense simply accepted. There is no hint of the surface being broken, of a window open to an atmospheric or light filled space beyond (however shallow).”