” Wandering. Looking for something to follow. Hoping to find something to prove that everything is profoundly meaningful. Some sort of singular theory of life. In this quest, I seem only to stumble upon the inconsequential things. An annoyance, some confusion, a mistake that takes a long time to clean up, a stubbed toe, a dirty dish, hair—all of the little things that pile up until it becomes clear that the passage of time has been present only in the form of passing distractions. Maybe there is some meaning, but it seems to be an illusion that only luck may one day unveil. It can be difficult to remain interested, excited, engaged, and true to oneself amidst the backdrop of routine, everyday life. My most recent work is about personal fantasy and escape amidst everyday experience. It is a reimagining of everyday life, based on often small, seemingly insignificant frustrations. A playful rumination on the little things, the subtleties, which can fill our lives for better or worse. Growths of the seeds of worry, fear, amusement, and minor upsets. Fruitless daydreams. It is about what a mind does with what it is given.” – Jennifer Cronin
” I am investigating the psychological complexity of women through intimate observations in the bedroom. The work is inspired by the cult of beauty in contemporary mass media. Intricately painted, decorative interiors are invented to titillate the viewer.” – Karen Ann Myers
Oh these are awesome! Check out Jason Ruff‘s sneaker sculptures made mostly out of cigarette packaging, straws, and duct tape. Check out the rest over here.
John Breed(1969) creates works of art for over twenty years now. After his adventurous travels, he comes back full of inspiration, craftsmanship, indigenous techniques and makes his own new artworks. He learned to draw calligraphy from a Japanese master in Kyoto, graffiti in New York, painted fresco’s in Rome, got in touch with icon painting in Russia and learned to paint traditional landscapes during his trip through China.
” My current studio practice considers the continuous process of transformation that materials and objects undergo throughout time. I create abstract, unidentifiable objects that evoke or depict a sense of the transient through the creative and constructive process and the overall sculptural form. I am interested in the evocative and emotive qualities of colour and its potential to direct and inform the viewer’s understanding of the work. I often consider the materiality of colour: the superficial qualities of applied surfaces verses colour that is intrinsic to the material itself and solid throughout. Sculpture defines a direct physical relationship between the viewer and the objects that they encounter and a conscious use of scale reaffirms that relationship. I make work that is relatable to the human body in scale to reinforce the physicality of material within my work.” – Derrick Piens
” In the process of selecting the subjects for my paintings, I find I have compiled a sort of “object biography” which reflects a great deal of my own personal history without limiting the possible readings and resonances. It was my particular experience of reading Proust, perhaps because of its sheer length – and indeed Proust said the same thing of his experience of reading – that life begins to overlap a text, and to a certain degree the moment a book is read becomes fused with the book itself. The book is a container for much more than the single story which peppers its pages.This is especially apparent with the passing of time, merely by seeing the cover of familiar book or reading a paragraph we are transported into our own past. The process of creating the paintings is also a dialogue with form and ideas. Though the finished images are representational, the paintings remain “open”, literally blank, through a great deal of the process. Each image begins as a near abstraction, the book is reduced to its rectangular form placed so as to be somewhat antagonistic to its support (not unlike Malevich’s White on White) with images and text only appearing later in the process. The supports themselves (the stretched canvases) are often subtly rough around the edges, or just slightly askew, allowing for the objectness of the canvas to both support and undermine the illusion of the objectness of the book.” – Jen Mazza
Monty Guy is an artist living and working in San Francisco, California. Mediums include acrylic, spray paint, and wood stain.
” There is a stillness and a heaviness that I enjoy in classical works and it is with homage to this, and with respect, that I let the past inform the modern. My work is influenced by the progression of time and the intricate language of symbols both personal and universal. To me, paintings are reliquaries for ideas and history is always involved.” – Bradley Platz
David Levinthal <-- Born in San Francisco, CA, 1949; Lives and works in New York, NY; Education: S.M. Management Science, Massachusetts Institute of Technology, 1981; M.F.A. Photography, Yale University, 1973; A.B. Studio Art, Stanford University, 1970