Patricia Gaeta uses graph paper as her primary medium and main source of inspiration. Although her geometric constructions are painstakingly hand-cut, carefully layered and precisely ordered within their rectangular formats, the overall compositions have an intriguing energy, depth, and visual complexity.
By its very nature, graph paper contains at least two perpendicular sets of lines forming a square grid, inviting activities such as three-dimensional drafting. Using this flat-surfaced grid as the jumping off point, Gaeta builds the illusion of depth with minimalist paper squares and cubes that have been glued flat against the graph paper. At the same time, she creates literal depth by building up layers of paper upon various shapes, raising and precariously overlapping them, adding height and volume to the geometric configurations. The boldness of these vivid, colorful designs, coupled with the delicate, tessellated nature of the thinly cut paper, create striking sculptural patterns that evoke a range of crafts, such as crochet, weavings, mosaics and architectural renderings. Much of the work in this show was, in fact, inspired by architecture, particularly the empty, dilapidated buildings near Gaeta’s hometown of Niagra Falls, New York. Recalling the broken factory windows and rusting exteriors, many of the small collages in this show evoke a sense of uninhabited space and industrial decline, while her larger pieces tend toward proliferation and renewal. Her use of graph paper and the strict, systematic nature of architectural drafting it elicits are juxtaposed with worn, broken down materials such as ragged-edged paper, perforated vellum, wood veneers and flaking paint in luscious hues, suggesting an elegant and ordered decay.
'American Asylums' by photographer Jeremy Harris takes a look at the derelict architecture of abandoned mental hospitals, a project that commenced in 2005. The series highlights the magnificent structures that were built as a form of therapy - serving as a reminder of the thousands of individuals who lived in these places, some for the majority of their lives. Scattered around the east coast and New England, the therapy sites have often been ignored, forgotten, or destroyed - lost as an important part of american history. Many of the hospitals captured in photographs over the years are now gone.
Jeremy started his illustrious career over a decade and a half ago in the city with witch he left his heart, San Francisco. The thriving rock ‘n roll scene was where he found his first subjects. Shooting band portraits and live shows on the cheap or for BEER, a small portfolio was built up and eventually Jeremy’s images caught the attention of some of the worlds most famous music magazines. His interest in architecture, interior design, mid-century furniture, bicycling and the outdoors led him to branch out and build relationships with a variety of magazines, design firms agencies and corporate clients Many of which he still works with today. Jeremy’s beautifully lit and expertly composed images are award winning and have been shown in art spaces all over the country.
Jon Rappleye's work is a homespun faerie tale, a re-creation of cultural folklore and a personal mythology – a world populated by recurring fantastical creatures and strange hybrid phenomena. Within this environment there are layered references to the human body. Biological structures and functions are reanimated, exploring ecological issues, technology and a dream world landscape.
Since attended the Skowhegan School of Painting and Sculpture and receiving his MFA from the University of Wisconsin, Madison, Rappleye’s work has been exhibited throughout the United States and featured in the collections of the Nerman Museum of Contemporary Art, Kansas; The Progressive Corporation, Ohio; West Collection, Pennsylvania and U. S. Art in Embassies.
Bryce Wymer is a visual artist currently based out of Brooklyn, New York. His personal works address human social progression and the driving relation between the powerful and the powerless. Bryce currently works as freelance creative director around the world. This title incorporates all facets of live action, graphic design, illustration, fine art, 2D animation, and post production.
“All of my finished work start from ideas rooted in my sketchbooks. I love that I can turn the page and not have to dwell on an I idea for a while. It keeps fresh ideas flowing in moments of inspiration. There is something less precious about a page in a book, so you are more willing to jump in without a safety net. Its freeing. At times, the sketch book pages do become the final piece . For me it’s the concept that determines a work’s value not the format, whether sketchbook, canvas or a digital file.”
VISIT ARTISTS WEBSITE
Born in Buffalo, New York Charles Wilkin has been a working collage artist for over 15 years. His work has been featured in numerous contemporary art and design magazines, including; Metropolis, Rojo, Juxtapoz and Emigre. His work has been exhibited in New York City, Los Angeles and Byron Bay, Australia in both groups and solo shows. Several of his pieces are currently in the permanent collections at the Museum of Decorative Arts in Hamburg, Germany and in the Library of Congress in Washington, DC.
Wilkin has also lectured extensively across the country about his work and received his BFA from the Columbus College of Art and Design, in Columbus, Ohio in 1992. When Wilkin is not working he is busy keeping bees, practicing speed metal guitar and is currently contemplating getting a pilot's license. He currently lives Brooklyn, New York.
Julia Fullerton-Batten was born in 1970 in Bremen, Germany. Her father was an avid photographer, and she borrowed his camera quite a bit in her early teens. After a B.Tech diploma in photography, Julia Fullerton-Batten was a freelance assistant for five years. Sheidentifies this time as the most formative in her professional career. Although she still shoots a lot of commercial work, she treasures her fine art photography for the creative freedom it allows her. Several years into her professional career, she still wakes up full of ideas forher next shoot.
Hanksy is a NYC-based street artist who exclusively works with clever wordplay and puns. Lampooning various celebrities, most notably Tom Hanks, Hanksy’s street work has delighted local New Yorkers and the internet alike ever since his arrival in 2011. And after two sold-out exhibitions at Manhattan’s Krause Gallery, Hanksy shows no signs of slowing down.
Photographer since 2004, living and working near Mannheim/Germany.
"My primary goal as an artist is to create a moment between me and the subject, no matter who or what it is, that reflects my own understanding of eternalness, no more and no less. I also do not offer commissioned work and follow only my own directions. Furthermore, my art is not politically motivated or socially critical, I'm only trying to create aesthetic images for the sake of aesthetics."
"A lot of the time when we explain to people what we do and how we work they say...
'Man..you work together, and you are a couple! I'd end up killing my girlfriend/boyfriend if we collaborated on everything we did!' I guess we are pretty lucky...two peas in a pod! Two crazy, work-a-holic, mad dorks in a pod! After years of living, painting walls and working together we have only become closer, stronger and even more in sync. Every day we wake up, paint all day...and keep each other entertained with constant chatter and stupid jokes. Who could ask for more out of life!! We are both originally from Melbourne Australia, and have been living and working in LA for the past four years, soaking up the sun and chaos that surrounds us."
Sculptor and illustrator Nina Fowler creates incredibly detailed large-scale illustrations of early film stars and damaged starlets, capturing both their glamour and rawness. Collected by the likes of Jude Law and Sharlene Spiteri, her black and white drawing of the silver screen specifically use imagery from the 1930s and 1940s because "the facade of glamour was more extreme and the fall from grace so much further, which for me heightens the theatre of it whilst still being relevant today. "
She manipulates her source imagery in many different ways, solarizing it, inverting it, so that she is surrounded by as many different exposures of a single image as possible. This allow her to then create a drawing that pushes the image to another level. The drawings add drama and heighten the composition and become something hopefully more than the source imagery, or different at least. I do consider the complications of using found imagery and try to create something new with respect to the original source material.
Women Barbadas, aka the Bearded Ladies, are Henrique Lima and Julio Zukerman. Working together based in São Paulo since 2007, the duo joined forces illustration to fill empty spaces with monochromatic doodles. Today Their work varies between digital mediums, murals, drawings on paper and on different objects, always with too much information and too little colors.
Jordan Clark's collages are not so much the juxtaposition of vintage images as they are deconstructing the image and recreating a kaleidoscopic vision of it, as if looking at a picture through a prism. What we see therefore is a series of studies in perspective, an opportunity to look at everyday images in a new way. His delicate cut and paste collages an opportunity for us to re-examine how we look at photographs and how we relate geometric shapes to form and composition.
Clark’s work has been published in the WAFA (We Are Fucking Awesome) organization’s A+B Zine, and in the online periodicals Serial Optimist and Brown Paper Bag. The book cover that he created for new book The Map And The Territory was recognized as one of the top book covers of 2012 in the New York Times newspaper.
View Artists Website
Frances Trombly engineers practices with an established dialog of effeminateness, such as knitting and weaving, toward new scrutiny of contemporary art and life. Traditional craftsmanship combines with large-scale installation and environmental intervention to breathe new concepts into the backbone of materiality. Borrowing from polarizing arenas such as craft, art practices, labor and mass production, Trombly reinvents not only the raw materials of studio practice, but their sanctions in art history and authority in colloquial utilization.
Michael's work has been featured in countless media outlets including The New York Times, Time Magazine, The London Sunday Times Magazine, and on the cover of New York Magazine's "Reasons to Love New York" issue (three times). De Feo participated in the Wooster on Spring exhibition at New York's "Candle Building" which was one of the top-ten cultural events of 2006 as selected by Roberta Smith of the New York Times. In addition, Michael's work has been featured in film documentaries including Alice Arnold's "To Be Seen" which was aired on PBS/WNET and screened at the Museum of Modern Art in New York in 2006. Most recently, Michael also makes a brief appearance in Banksy's film, "Exit Through The Gift Shop" which was nominated for an Academy Award for best documentary.
De Feo's award winning children's book, Alphabet City: Out on the Streets, employs New York City as his canvas - using his paintings glued on the streets of Manhattan to illustrate each letter of the alphabet. It's now in its fourth printing by Gingko Press. Newsweek International had this to say about his book, "De Feo's art evokes beauty and optimism with a childlike simplicity while paying homage to gritty Manhattan."
De Feo also regularly works with non-profit and community organizations such as Friends of The High Line, Free Arts NYC, The Children's Museum of the Arts NYC, and The Aldrich Contemporary Art Museum.
Michael lives in New York with his daughter, Marianna.
As a Ukrainian living in the United States, it is the second time Dima Gavrysh is a citizen of a country that is fighting a war in Afghanistan, with no end in sight. His response to these "Kafkaesque" wars is channeled into a series' of high contrast, black and white photographs taken while revisiting the remnants of the Soviet bases and battlefields in Afghanistan, now used by the US military.
Over the past two years Dima has been exploring the American war in Afghanistan through video installation, photography, appropriated imagery and data visualization. Inshallah (“God willing” in Arabic) is a project that explores the Soviet and American occupations of Afghanistan. It draws upon my childhood fantasies that romanticize the military and intertwines with my past and present personal conflicts.