Lola Mitchell uses textures and digital painting to create stories through images. Her surrealistic underwater photography resonates with rhythm and explores emotional concepts.
George Tooker was an American figurative painter. His works are associated with Magic realism, Social realism, Photorealism and Surrealism. His subjects are depicted naturally but the images use flat tones, an ambiguous perspective, and alarming juxtapositions to suggest an imagined or dreamed reality. He did not agree with the association of his work with Magic realism or Surrealism, as he said, “I am after painting reality impressed on the mind so hard that it returns as a dream, but I am not after painting dreams as such, or fantasy.”
Matsumoto’s artwork reflects the morphological transformations of our ever-evolving ecological milieus that are attributed to a multitude of spatio-temporal phenomena influenced by socioeconomic and built environments. They are created as visual commentaries on speculative changes in notions of societies, cultures and ecosystems in the transient nature of shifting topography and geology.
The artwork explores the hybrid technique combining both traditional media (ink, acrylic, graphite, and photo collage) and digital media, manifesting the collective recognition of a multiplicity of epistemological viewpoints in all cognitive dimensions of spatiality.
The varying scale, juxtaposition of biomorphic forms, intertwined textures, oblique projections and visual metamorphoses are employed as the multi-layered drawing methodologies to question and investigate the ubiquitous nature of urban meta-morphology, the eco-political reality of the Anthropocene epoch, the advancement of biomaterial technologies and their visual representation in the context of non-Euclidean configuration. Furthermore, the application of these techniques allow the work to transcend the boundaries between analog and digital media as well as between two- and multi-dimensional domains.
His compositional techniques imbue the work with what we see as the very essence of our socio-cultural environments beyond the conventional protocols of architectural and artistic formalities, and that they conjure up the synthetic possibilities within which the spatial and temporal variations of existing spatial semiotics emerge as the potential products of alchemical procedures.
Ryota Matsumoto is a principal and founder of an award-winning interdisciplinary design office, Ryota Matsumoto Studio. He is an artist, designer and urban planner. Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at Architectural Association in London and Mackintosh School of Architecture, Glasgow School of Art in early 90’s. Matsumoto has previously collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Cesar Pelli, MIT Media Lab and Nihon Sekkei Inc. before establishing his office.
He presented his work for the 5th symposium of the Imaginaries of the Future at Cornell University in 2017 and currently serves as an adjunct lecturer of Transart institute, University of Plymouth.
His current interest gravitates around the embodiment of cultural possibilities in art, ecology, and urban topography.
I’ve been creating art most of my life. I started painting seriously about ten years ago, showing my pieces at various local shows in the Allston, MA, area where I was living at the time. Six years ago, I made the decision to get serious and go back to school, graduating in 2015 from the School of the Museum of Fine Arts, Boston.
I’m interested in decay, distressed or worn and used objects, dark humor, emotions, and the underlying stories often overlooked. I love Surrealism, Pop Surrealism, Fantasy and Lowbrow, but don’t strictly define my work in any of those genres because often I stray outside of them.
My preferred mediums are oil and occasionally acrylic. I use traditional methods such as the Flemish seven layer method to build dense, rich backgrounds, and these days often mix accidental/abstract components with realism to create my fantasy landscapes and scenes.
Many of my images and ideas come from my dreams and early fantasies. As a child, I had a very active imagination and I’m still working with some of my thoughts and stories from my past. I’m influenced by fantasy, horror, science fiction, my life experiences and what I see around me in the world today. Some of my themes are completely imaginative and brightly whimsical, others more political and intensely disturbing. To all of this I sometimes add a lowbrow twist, often with dark humor.
Chris Boyko paints bizarre, strange, and unusual works. Each painting represents a hidden reality from the artist’s subconscious. These representations skirt the boundaries of surrealism and abstraction. Form and shape emerge from the paint. Nearly recognizable and figurative, yet remaining alien, beyond reach, ambiguous. Shapes or sculptures resemble figures or images found in wisps of smoke or clouds in the sky.
In Boyko’s worlds, weird alien figures (like goop) reach out and clasp each other. Are these are psychic, metaphorical structures? Crystalized memories? Microscopic organisms? Or alien landscapes? The viewer’s mind stumbles for answers… but finds weird ambiguity, and their own subconscious revelations reflected back at them.
The subconscious is constructed like a giant web, which as a whole creates an individual. If one were to examine each individual piece, they would realize it’s composed of multiple ideas, memories, and feelings which are constantly shifting. It’s this shift within our subconscious that changes our perception of reality. It’s why each of us can respond differently to a multitude of situations.
Using automatic painting techniques, my mind enters a meditative state. As I begin to follow the strings of the subconscious web, the organic forms develop within the painting. One form leads to another, like a trail of thoughts. It’s as if my mind and the paint are in sync with each other. As I explore my own mind, gaining an understanding of myself; I’m also gaining an understanding of the forms.