Jun 10, 2016
Born in 1975, Roy Debanjan
was awarded a Bachelor of Visual Arts from Rabindra Bharati University, Kolkata in 1998 and a Master of Visual Arts from Rabindra Bharati University, Kolkata in 2000. Since then, he received the "Nirman Award' in 2004 and the Lalit Kala Academy Scholarship from 2002 to 2003. He also received a Junior Fellowship from the Ministry of Tourism and Culture for 2002 to 2004 and Best Sculpture Award by West Bengal State Academy and Rabindra Bharati University. His works have been exhibited widely, such as 'New Wave in Bengal Art' curated by Pranabranjan Ray, 2005, 'Tale of Two Cities' Birla Academy in 2004, "Migration City, Home' Lalit Kala Academy, Kolkata in 2003 and Triennale, Japan 2001. His first solo show was held at Birla Academy, in 2002. He currently stays and works in Kolkata. Roy Debanjan has created a series of works featuring Gandhi (1869 - 1948), who was revered in India as the"Father of the Nation" and internationally as an icon of a free India. Debanjan's sculptures depict Gandhi in his humble loincloth and shawl normally only worn by the lowliest Indian caste. In sharp contrast, he interacts with symbols of materialism and technological advancement - mobile phones and laptops.
Jun 7, 2016
<-- Philadelphia-based illustrator with background in graphic design; BFA in drawing, printmaking, and design from Kutztown University of Pennsylvania; explores surrealist themes in vivid oil colors or illustrates intricate contemporary models in a pen-and-ink drawing technique.
Jun 3, 2016
is an illustrator and graphic designer based in Cartagena, Colombia. Please click here
to see the rest of her works.
Jun 2, 2016
" I set up photographic still lifes or closely cropped nature shots that are carefully arranged, but somehow fraught—both over-specific and elusive. I’m drawn to situations where control is confounded by dysfunction and studied elegance is poised precariously on the verge of the absurd. The well-placed non sequitur, self-consciousness, and slyly humorous formal affectations are ongoing preoccupations. My subject matter could be almost anything—a cat staring at bowls of milk, a badly placed brooch on a sweater, a cheese morsel fallen on a couch. I tend to use whatever’s close at hand, so autobiographical allusions inevitably sneak in. I’m not interested in forcing any particular narrative; I’m more interested in a sensibility that runs through the work: low-level despair, boredom, resignation, thwarted desire, overwrought sensuality, utter futility. I tend to push that with the titles. I’m going for the rigor of minimalist design, the angst of an existential one-act, and the humor of a Chaplinesque slip on a banana peel. Think Charlie Brown meets Robert Mapplethorpe." - Diana Kingsley