It may be an understatement to say that the artist that simply goes by the name of Mossi is interested in lines and line-making. His drawings are incredibly intricate, containing innumerable lines. Mossi uses typical color pens to create his a typical work. Each piece is a sort of portrait. However, more than faces, the drawings are just as much investigations of lines, pattern, and facial composition. The portraits are meditative, perhaps as much for the viewer as they were in creating for the artist. The bright colors, and extremely detailed pattern make for psychedelic-like work that’s easy to get lost in.
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.”
In his latest series of drawings, Anthony Coicolea poetically engages with the term “pathetic fallacy” or our own egocentric inclination to prescribe human characteristics or qualities to all living things. His imagery, done beautifully with simple graphite on layered mylar, allows worlds to overflow with new pattens of transcendence despite an archaic old world order.
Of this series, the artist statement suggests, “In a new hybridized world of man and nature, nothing is permanent and nothing is safe. Humans, plants and animals have cross-pollinated; they have merged, evolved and adopted different features from each other. Objects acquire pathos and empathy while the decomposition of material things reflects the world in flux.
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.”
Some artists are so talented they seem to be able to do it in their sleep. Lee Hadwin, though, can only do it in his sleep. Since he was an early teenager, Hadwin would draw or paint on tables, walls, clothes all while sleep walking. While awake he would show no sign of interest or talent in art making. Now Hadwin is prepared at night – he sets art materials aside before going to bed. Much of his work is elegantly simple, while other pieces are strangely intricate. Peculiar symbols and recurring shapes seem to appear in much of his work making one wonder whats going on in the mind of sleeping Lee Hadwin.
Artist Harvey Moon admits that he has always had a difficult time drawing. Naturally, then, he built a robot to do it. Moon’s machines use the same pens that you’ll find on your desk right now. However the pens are moved around, picked up, and put down on a sheet of paper by motors running on a program. His first drawing machine works vertically with only two simple motors. The amount of detail put to paper by the machine, though, is astounding. Check out the video to see Moon give a more detailed explanation of the way the drawing machine works.
Artist Brittany Schall created incredibly detailed drawings for her series Hair Studies. The mixed media pieces are certainly portraits but are decidedly missing faces. Instead she focuses entirely on each subject’s hair. The flowing masses nearly seem to suggest a mesmerizing movement. Locks tumble like smoke or water and imply the underlying form. Each subject’s hair carries a seeming personality of its own, a portrait of sorts in its own right.
Marco Mazzoni’s work softly drips with an exquisite ease of darkness. From blooming faces where birds gather to a rabbit draining with butterfly wings, each image surrealistically depicts folklore infused with spiritual healing properties that twist and twirl with our own imaginative connections to nature.
To elaborate, Jonathan Levine Gallery notes, “Mazzoni’s imagery references herbalist traditions and Sardinian folklore of mystical seductresses who enchant, curse and cure. His body of work is a tribute to the legacy of female healers throughout history. These women held an important role in medieval communities yet their ancient knowledge of the natural healing properties of medicinal plants was widely feared by the Church, viewed as witchcraft and cause for persecution.”