Over nearly two decades, Australian artist Ben Howe has carved a reputation for himself globally with his iconic photo-surrealist oil paintings. Those paintings have made their way across the world into galleries and private collections, in the process eclipsing numerous grants, fellowships and international residencies which have been sent his way.
Hannah Yata weaves nature, feminine imagery, and other elements into pieces that can both soothe and challenge: while her paintings are beautiful, often with a candy colour palette, they also confront us with complex perspectives on humans and their world. Sometimes wry and sometimes shocking, Yata’s work is invariably arresting.
John Brosio uses traditional painting to portray the relationship of people to their environment in very nontraditional terms. With elements both funny and foreboding, his work captures what people so often miss: the awe that should be inspired by some very large thing we’re overlooking and our arrogant inflation of our own place within the universe. Brosio’s paintings challenge us to not get stuck in the milieu of the everyday but to see the beautiful and sometimes terrible things around us.
Chris Leib is an American fine-artist and graduate of anthropology, renowned for his iconography of Bonobo chimps and astronauts and cosmonauts, often juxtaposed, with exquisite technique and scrupulous attention to detail. Transcending whimsy, his paintings are laden with meaning and intellectual contemplation. Chris’ work explores themes of heroism, human endeavour and the sensitivity of human hopes and ambitions to possible realities of science-fact. His work challenges us to contemplate a collision of science-fiction, reality and religion, this three-car pile-up viewed from the vantage point of our evolutionary ancestors who have quietly continued to evolve themselves.
Adrian Cox is a painter, scholar, philosopher and one compelling teller of stories. His paintings depict a vast and secret world of peaceful ‘border creatures’ which exist within a serene and tranquil ecosystem, known as the Borderlands. Cox’s body of work represents a mythology, a mythology that he has thoughtfully, meticulously and incrementally evolved. Like so many mythologies, though the central characters may not be human, the message is nevertheless ultimately a human one: an allegory for who we are, what we came from and what could perhaps one day be.
The works of Polish artist Zdzisław Beksiński are renowned for their haunting surrealism. Presenting dusty dystopian landscapes, sparsely populated by gaunt and imposing figures. Beksiński’s work has inspired countless artists and informed creative directions in film, music and photography. Despite his enormous influence, there has never been much of a window into the life of the man himself. Kamil Śliwiński is hoping to change that. He is one of the driving forces behind a crowdfunding campaign aimed at raising enough funds to make a feature length documentary on Zdzisław Beksiński and his life.
The work of Canada-based artist Kit King is a study in contrasts: not merely the dark and light of her black and white pieces but also the contrasts between intimate and impersonal, hardness and vulnerability, openness and the state of being bound. There is balance yet tension. And it is the viewer who is invited, perhaps compelled, to resolve that tension—or decide to merely appreciate the question a particular piece may ask.
The mind-bending sculptures of Johnson Tsang push the limits of imagination and sometimes even of gravity. By turns whimsical, lyrical, and provocative, his works capture the fluidity of both physical motion and human emotion while challenging us to see the world in a different way.
Greg “Craola” Simkins has a nickname to set him apart, but maybe that’s not needed: his versatility is enough to separate him from others. With a career that includes many years as a graffiti artist, a painter of beautifully rendered fine art pieces, and one who keeps his fingers in a variety of commercial art pursuits, including clothing, animation, toys, and album art, Simkins might well stand alone as a success on many artistic fronts.
The old-fashioned portraits rendered by Travis Louie are decidedly unlike those which might hang in the home of one’s great-grandmother. A gentle-looking monster with delicate flowers sprouting from its head, conjoined one-eyed twins sharing a single suit, a woman posed with her improbably large pet damselfly, and similar characters have “sat” for Louie, who often provides parts of their stories through the written word as well. Louie’s portraits are alternately whimsical, disturbing, and poignant, the culmination of a fertile imagination and dedicated skill.