Bertozzi & Casoni

 photo 2BERTOZZI_CASONI_zps8d59130a.jpg  photo 3BERTOZZI_CASONI_zpsfb21fbaf.jpg  photo 1BERTOZZI_CASONI_zps0e37e24d.jpg  photo 13BERTOZZI_CASONI_zpsc2c56750.jpg  photo 12BERTOZZI_CASONI_zps4b39c47e.jpg Bertozzi & Casoni's work consists of ceramics hand-made in a realistic and richly detailed style. The two artists met while studying at the Faenza ceramic school. Giampaolo Bertozzi (Borgo Tossignano, Bologna, 1957) and Stefano Casoni (Lugo di Romagna, Ravenna, 1961) soon decided to work together and this collaboration became concrete in 1980 when they formed a society with the collective name of Bertozzi & Casoni s.n.c.: this logo was to become a symbol of their particular style. The sculptures of the two artists are both ironic and obscure, and consist of untidy trays, broken eggs, half-full overturned coffee cups, cigarette butts and old dirty newspapers; they give rise to images that provoke an alienating effect where the objects, whether common or rare, and having little to do with each other, seem to testify to modern man’s inevitable collision with consumption. They work with the most varied materials, using the industrial methods of ceramic-making, and uniting tradition and experimentation in a continuous and “contradictory” attempt to push beyond boundaries, freeing themselves from conformism and the cultural stereotypes of ceramics and so-called applied arts by an ever more sophisticated and deeper knowledge of a language that also includes techniques and materials. The works are modelled and coloured using traditional processes to be found in the Renaissance of Della Robbia and later recuperated by the Arts and Crafts movement and by Art Nouveau; to these they have added such other techniques developed by industry, graphics, and Pop Art as decals and photo-ceramics which are used in the works to create hyper-realistic effects, subtle quotations, and conceptual tricks. Amongst other interests, that in waste and its maniacal and hyper-realistic reproduction in ceramics, becomes an inquiry into aesthetic transformation, just as their analytical study of every kind of junk has led them to the most sophisticated kind of waste of all: that of culture. This has become a kind of theft from icons that are by now digested and assimilated, those belonging to the history of art and design such as the Brillo Boxes, Manzoni’s Merda d’artista, or Saarinen’s tables. Bertozzi & Casoni‘s cultural interests become products that link up on a syntagmatic plane, that of past and present time, causing to coexist, on the same level and with the same formal attention, techniques, objects, themes and clichés in an unexpected and ironically natural syncretism where decorative exuberance and the solemn artifice of sculptures made from human remains, bones, and common waste, are transformed into desecrating memento mori and eclectic post-modern vanitas. (via ArtNews)  photo 11BERTOZZI_CASONI_zps8476c3be.jpg  photo 7BERTOZZI_CASONI_zpsbb83fd82.jpg  photo 20BERTOZZI_CASONI_zpsc7c18b20.jpg  photo 21BERTOZZI_CASONI_zps05549c70.jpg  photo 19BERTOZZI_CASONI_zps8e5ae480.jpg

Nathan James

 photo web_war_zpscb22adb6.jpg  photo web_everybody_zps2276a2ab.jpg  photo web_home_zpsd1ddfcf9.jpg  photo web_see_zps7f34204d.jpg Born in Kirkland Lake, Ontario, Nathan James spent much of his life in the Toronto area before moving to London, UK where he currently lives and works. His current series of paintings, Creepshow, is based on the idea of Pessimist Pop. A reaction to the highly-polished, busy, celebratory work of Koons, Murakami et al, James' paintings deal in the same sort of bold shapes and cultural iconography, but look at the underbelly of these images and contextualizes them in a real, unforgiving world. Painting in oil (often making his own paints) onto canvas or linen, James focuses on the lives and worlds of the underclass, failures, perverts and slackers, rather than beautiful, successful people. Bleak comedy and personal tragedy sit uncomfortably close together in James' characters, which draw on both the failed industrial background of his childhood and the current mood of insecurity and paranoia present in contemporary society. Joining up an almost old-fashioned, painterly approach to his art with very modern ideas of representation and humour, Creepshow is both deeply personal and also a document of lives, habits, problems and people who modern art usually overlooks.  photo web_sweet_zps1d3d8eda.jpg  photo web_doodah_zpsf1825c07.jpg  photo web_rapture_zps00b1c32f.jpg

Hilde Kentane

 photo 600scrapdog_zps67a45f04.jpg  photo 600scrapponey_zps02e30de8.jpg Beautiful sculptures by the amazingly talented Hilde Kentane (Belgian, living and working in Holland since 2007).  photo 600birthday_zpsdf1a7378.jpg  photo 600impersonation_zps1868f208.jpg

Baitogogo by Henrique Oliveira

 photo 2261-04_zpsebb5b5e2.jpg  photo 2261-03_zpsa3373f97.jpg  photo 2260-34_zpsf784ddc2.jpg 'Through a kind of architectural anthropomorphism, Henrique Oliveira reveals the building’s structure. At Palais de Tokyo, he plays on the space’s existing and structuring features, prolonging and multiplying pillars in order to endow them with a vegetable and organic dimension, as though the building were coming alive. The artist draws inspiration from medical textbooks, amongst others, and particularly from studies of physical pathologies such as tumors. Through a formal analogy, these outgrowths evoke the outermost layers of the bark of a common tree. The texture of this wooden tapumes installation inevitably calls to mind certain tree essences from Amazonian, humid tropical forests: the rivulets and other nodes constitute uncontrollable networks, in a logic that Man can no longer suppress.' Link here.  photo tumblr_mq5eneWEHw1qarjnpo3_500_zpsd9cc819b.jpg  photo 2256-06_zps734f1882.jpg

Adrian Cox

 photo 985945_orig_zps8affadeb.jpg  photo 505368_orig_zps4d315df3.jpg " The figures in my paintings offer themselves to be felt; their vulnerability as flesh is bared and opened. Orifices and protuberances create sites at which the skin outside meets with the skin inside, forming a continuous passage between the two that eradicates their distinct positions. These grotesques become border creatures, defined by indeterminate boundaries that merge, overflow, and extend into the surrounding landscape. Despite their potentially alienating monstrosity, these characters strive to connect with each other and their environment. Their acts of singing, loving, whistling, stargazing, and wandering suggest attempts to become united with their surroundings through a state of perpetual wonder. As these characters achieve such unity, the world that opens itself to them is one full of growth and decay, shifting and transforming with their every extension. My work shows death as integral to the world of these border creatures. Rather than celebrating death itself, however, I seek to make bearable a recognition of its deep connection to life. It is in this hope that I offer an exploration of the body as open, vulnerable, and on the threshold of boundlessness." - Adrian Cox  photo 7787668_orig_zpsd73703c8.jpg

Dorothy Cross

 photo Earth_051_zps549b1683.jpg  photo tumblr_ms2rqlUo2z1r6w3qso1_500_zps181b98d5.jpg Dorothy Cross (b. 1956, Cork, Ireland) works in a variety of media including sculpture, photography, video and installation. She has been exhibiting regularly since the mid-80s and her witty and inventive investigations of contemporary sexual mores and politics tend to be produced in series. Her first major solo shows were 'Ebb', at the Douglas Hyde Gallery, Dublin, in 1988, and 'Powerhouse' at the ICA, Philadelphia, the Hyde Gallery and Camden Arts Centre, London, in 1991. During the 90's she produced two extended series of sculptural works, using cured cowhide and stuffed snakes respectively, which drew on these animals' rich store of symbolic associations across cultures to investigate the construction of sexuality and subjectivity. Over the past few years Cross has devoted increasing amounts of time to the development of large-scale public events and projects, most memorably the award-winning 'Ghost Ship', an ethereally illuminated light-ship, which haunted Dublin Bay for a few weeks in 1998.  photo tumblr_ms2rqlUo2z1r6w3qso2_500_zps4d478bd1.jpg

Amy Judd

 photo 1_zps35a455d6.jpg  photo 2_zps8faed14a.jpg Amy Judd is a London based artist represented by Hicks Gallery Wimbledon. Recent Avian work is a collection of sensitive silent moments; some full of whimsical intrigue, others more surreal and seductive. These paintings draw inspiration from the enchanting and imaginative relationship between women and birds found in traditional mythologies and folklores. The composition, light and positioning of the subject, creates curious images, which conjure up new “mythological” narratives or creatures within the paintings; using Feathers as armor, and birds as familiars. The sensitive brushwork on the figure’s flesh complements the delicate pattern of the feathers, however the compositions are bold and strong, and the figures are not frail or delicate; the feathers allude to strength, flight and bravery, rather than fragility.  photo Wow-Art-Amy-Juddlsquos-Oil-Paintings-03_zps139c0d2c.jpg

Isidro Blasco

 photo 1400x720-OHbmK5L5oExdltod_zpsa22000bd.jpg  photo zewssceD7SutWbwD_zpsf54c7c81.jpg  photo KKIb8LIbdU25ne9F_zps7a917cb4.jpg  photo vfvvLnrIgjL_iL8R_zps21a8a0af.jpg " I made this installation using hundred of images that I took right in front of my apartment building, in Jackson Heights, New York. The different parts of the installation grew organically as it was been set up at the gallery Savannah College of Art and Design - ACA Gallery. Atlanta, Georgia." - Isidro Blasco  photo DJB3iHwiEAPGLpyG_zps2195baea.jpg  photo vAMFwxVQeDtwWvle_zps38b9ff55.jpg  photo 29kf8wmTCMdhE75E_zpse479f3ae.jpg  photo PiOZw3ejv1xwe4tV_zpsd1b60459.jpg

Alec Huxley

 photo Huxley_Were_Chained_zpsa46b6c3a.jpg  photo Huxley_Git_zps45bdea5c.jpg  photo Huxley_Stealing_Bags_of_Laughs_zps6233005d.jpg Alec Huxley (B. 1980) is a painter, photographer and graphic designer living in San Francisco, California. Filled with contrast, his work is primarily figurative. Bleak and colorful, it focuses on urban and desert landscapes of the American West Coast. Cinematic-like scenes serve as stylized historical records of place, time and architecture as well as settings for surreal narratives. A self taught painter, his background includes studies in business, graphic design, photography and a career in printing before committing to fine art full-time in 2009. Alec was raised in California, Alaska, Texas, Scotland and spent his 20's in Seattle, Washington. He is also the founder and principal of Adult Flavored Pudding, an art and design entity of a more contemporary nature.  photo Huxley_Been_Trying_To_Meet_You_zpsf2b706f8.jpg  photo Huxley_Didactics_zps26c60122.jpg

Kagan McLeod

 photo Coach-bathroom_zps7a48e346.jpg  photo Coach-cleaning_zps253ce2bd.jpg Kagan McLeod has been illustrating for magazines, newspapers and design firms since 1999, after graduating from Sheridan College's illustration program. He began work as a staff artist for Canada’s National Post newspaper, and has since had work published in magazines around the world. He lives in Toronto with his wife, two daughters and hound dog, Buddy.  photo Coach_zpscad56e9c.jpg