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Kevin Cooley

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Kevin Cooley: In Controlled Burns, swirling and imposing clouds of smoke contend with one another in a physical battle between diametrically opposing explosions of black and white. From a structuralist point of view, this imagery serves as metaphor for binary opposition, e.g. good vs. evil or day vs. night, yet this is not the sole line of inquiry. Inspired by the smoke signals of the recent Papal conclave which uses smoke as form of basic communication, this series is apart of a larger artistic pratice focusing on human relationships to nature. Fire is a powerful natural force that we harness for greater good, and it is the only Classical element, that we can create on demand, yet when out of control it has the potential for grave destruction. Contolled burns, is a visual representation of an inherit duality in how we interact with nature, symbolizing our desire to conquere and control nature, reminding us that sometimes we must fight fire with fire.

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Richard James Oliver

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” Though the subject of my work has no direct relation with the music my band creates, I believe it is born of the same crop and has the same underlying themes and drive. My work was a response to the difficulty of self identification in a post industrial Wales. It reflected the problem of self value and worth in a new non self sufficient country where every corner and horizon echoed the past yet every TV and computer pointed forward. The youth of my generation were born into the void left over in a post industrial country and patriotic pride was hard to come by. So even though my images were not relevant to the lyrical and musical content of the band, the core inspiration was, e.g. drive to achieve, stepping above and beyond, waking up to your own potential, and doing something with your life were all lostprophets anthem calls. To summarise, my work didn’t directly or visually represent the underground hardcore metal scene of the day but it was born out of the same rebellion against complacency and apathy that was inbred being brought up in a very grey poor town.” – Richard James Oliver

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Botanical Bliss by Roque Alan Deleon

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This bit of awesomeness brought to you by Roque Alan Deleon. Love it.

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Motoi Yamamoto

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Swirling Vortex of Salt by (prevouisly-blogged) Motoi Yamamoto.

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Landed by Ian Strange

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Positioned on the forecourt of the Art Gallery of South Australia, LANDED is a new site specific sculptural work commissioned for the 2014 Biennial of Australian Art.

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Maaike Schoorel

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Maaike Schoorel <-- Born 1973, Santpoort, The Netherlands; Currently lives and works in New York; Education: 2001 MA, Royal College of Art, London - 1998 BA, Gerrit Rietveld Academy, Amsterdam - 1997 Michaelis School of Fine Art, Cape Town

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Henrik Aarrestad Uldalen

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Henrik Aarrestad Uldalen (1986) is a self-taught artist whose creative production revolves around classic figurative painting, presented in a contemporary manner. Henrik explores the dark sides of life, nihilism, existentialism, longing and loneliness, juxtaposed with fragile beauty. The atmosphere in his subject matter is often presented in a dream or limbo-like state, with elements of surrealism. His focus on atmospheres rather than narratives and realism leaves his painting open for many interpretations.

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Javier Pérez

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His works are characterized by a certain syncretism, both in the method and materials used. Sculpture, photography, drawing, video and performance are used independently as well as together to create installations where interaction and exploration are essential. With his work, Javier Pérez reveals his inquiries and reflections on mankind, using a language full of intense metaphor and imbued with a strong symbolism. His works contain an intrinsic dialectic, showing how weak can be the boundary between concepts seemingly opposite such as the natural and the cultural, the inside and the outside or life and death.

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Rafael Ochoa

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Rafael Ochoa’s sumptuous digital paintings are made using a unique rendering process he has developed over several years. Focusing on select elements drawn from images of Old Master paintings that he finds online, Ochoa creates new works that infuse the beauty of historical art with a subtle postmodern flare.

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Guy Laramée

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” The erosion of cultures – and of “culture” as a whole – is the theme that runs through the last 25 years of my artistic practice. Cultures emerge, become obsolete, and are replaced by new ones. With the vanishing of cultures, some people are displaced and destroyed. We are currently told that the paper book is bound to die. The library, as a place, is finished. One might ask so what? Do we really believe that “new technologies” will change anything concerning our existential dilemma, our human condition? And even if we could change the content of all the books on earth, would this change anything in relation to the domination of analytical knowledge over intuitive knowledge? What is it in ourselves that insists on grabbing, on casting the flow of experience into concepts? When I was younger, I was very upset with the ideologies of progress. I wanted to destroy them by showing that we are still primitives. I had the profound intuition that as a species, we had not evolved that much. Now I see that our belief in progress stems from our fascination with the content of consciousness. Despite appearances, our current obsession for changing the forms in which we access culture is but a manifestation of this fascination.” – Guy Laramée

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