Tomasz Dobiszewski

Tomasz Dobiszewski (born in 1977) in 2005 graduated from Academy of Fine Arts in Poznań, from the Inter-media Photography Workshop directed by Krzysztof J. Baranowski and Stefan Wojnecki. He is a member of the Polish Association of Artists-Photographers. He lives and works in Wrocław. His artistic activity is accompanied by pedagogic practice.
Tomasz Dobiszewski formulates his artistic expressions using photography, video and multimedia installations. The area of interest for the artist is time and space, limitations of the viewer’s perception, illusion and problems of participations.
In the series Forma Nova Oculos Terret (2002), using the limitations of perception of reality by a camera, the artist constructed figures that cannot possibly exist in real world.
 Manipulation was also present in the work Palingenesis (2004). Pictures constructed using the principle of mirror reflection presented house interiors and household equipment. The viewer faced a dilemma which of them belong to reality and which are only mirages of perception.
The artist often uses the technology of aperture photography and is a constructor of surprising equipment, for example a camera built form a box of pills. In his Re-medium (2005) project we can find the signs of an advanced photographic techniques connected with an amusing context.
In the project Memorabilia (2005), the artist perversely used the title term which usually to defines events that deserve to be remembered. However, in this interactive project the viewer is attacked by a series of pictures triggered by sensor of movement and which are a flashes of the artist’s memory.

Marek Noniewicza

In the area of my activity - says Marek Noniewicza - is mainly photography. I am convinced that the record reflects the way of thinking about the image, and therefore more likely to reach for the old technique, trying to revive the myth of trying to find for him a contemporary context. Good energy saving condensed format and pinhole photography extends the boundaries of perception. Irreversibility of the processes and continuous transformation of silver are somehow synonymous with volatility of the natural world. What I try to record, then the course of these changes.
"Sommer" is one of the album, artist projects, which arises in connection with a reflection on the condition of photography, as seen by him as an object - something that would be able to resist the infinite reproduction. Each of the photographs in this series is a unique print on hand made ​​handmade paper with fragments of plants, covered with photographic emulsion.

Mark is a graduate Noniewicza photography at the Academy of Fine Arts in Poznan (1999), Art Conservatory in Ostrava (Czech Republic, 1995) and biology at the Nicolaus Copernicus University in Torun (1997). Since 2001, the author conducts photography workshops, is a member of the ZPAF.

Paul Chatem

Paul Chatem was born in 1974 in Bellevue, Washington. .”  He spent most of his time hunting snakes and scorpions in the Tujunga Wash, exploring ruins of forgotten ranches, shantytowns, and asylums, and ducking punches at punk shows with his friends.  Chatem  graduated from the Kansas City Art Institute in 1997, and initially showed his work in coffee shops and group shows around Los Angeles. During that time he had two styles of work, clean lined ink work and surreal oil paintings.
 Growing up in an environment where nature, history, and the impoverished were constantly being pushed aside to make room for golf courses and mini-malls, Paul developed a keen talent for representing the rift between rich and poor, the working man and the boss man, in his surreal, often nightmarish, narrative paintings.

Over the past year, Chatem has “changed gears” and taken his artwork in a new direction. “It began with the idea of incorporating his woodworking skills and interest in antique mechanical toys with his storytelling ability and narrative structure used to create a series of paintings – and has evolved into an adventurous, interactive and unforgettable style." 
 Chatem's folksy, yet modern illustration style is deeply rooted in vintage advertising, comic books, and animation.  His finished pieces are subtly aged and worn, creating the sense that they could have just as easily been constructed in the 1920s as much as they are very characteristic of the times we live in now.  is current works focus on a series of large- and small-scale kinetic pieces that invite curiosity and interaction.  By simply turning a crank, Chatem's hand-cut wooden gears spring to life, and the viewer is able to manipulate the composition and create movement within his vivid, carefully painted scenes.

Major influences in his creative life include Max Fleischer, E.C. Segar, Tom Waits, Charlie patton, The Cramps, and a host of early advertising illustrators.  He has been honored to show his works at the Shooting Gallery, SF; Copro, Black maria, C.A.V.E., and Dialect Galleries in Los Angeles; Feinkunst-Krueger Gallery, Hamburg, Mondo Pop and Dorothy Circus, Rome; as well as numerous group shows in Europe and North America.Paul is currently hiding out in the fog-bound sierra foothills with his tortoises, the mud, and the bugs.

Tony DeBlasi

Tony DeBlasi’s work is about the process of freeing oneself from conventions, and the search for new parameters. Some inspirations for his paintings have been the works of Matisse, Kandinsky’s “Improvisations”, Kline’s gestural structuring, and Twombly’s animated “scribbles”.

Important too are Moorish and Islamic architectural designs with their energetic, linear low relief, which he studied while in North Africa and Spain, as well as crazy quilts with their recognition of disorder, children’s pop up books and jazz.

References can be found to writing and calligraphy, to music, to the macrocosm and microcosm, form and formlessness and charged energy. The work deals with freedom and the search for parameters. It explores the relationship between order and disorder (chaos) and the need to understand the value and purpose of both in our lives.

Not readily evident in the reproductions shown is the work’s dimensionality. The white background is not canvas, but rather the wall onto which these shapes are connected. The colored shapes extend out from the wall to a distance of up to nine inches while casting shadows upon it. The effect is somewhat like relief sculpture. In this context, they maintain their identity as paintings rather than focusing on sculptural concerns.

Donald Farnsworth

Donald Farnsworth was born in Palo Alto, California in 1952. His extensive list of degrees in education were earned at various institutions that include Laney College in Oakland, the Art Institute of Chicago, the Art Institute of San Francisco, and finally the University of California at Berkely. His works have been included in various shows throughout the United States and internationally.
Farnsworth has received awards and grants from various organizations including the Graphic Arts Council and the World Print Council. In addition to his involvement in the artistic world, Farnsworth has spent time as a professor of art at several different universities; he has published and contributed to various books throughout his career, and has been director of a fine art publishing organization.

Controversy surrounding theories of evolution have continually unfolded since British scientist Charles Darwin published his book On the Origin of Species in 1859. For contemporary printmaker Donald Farnsworth, Darwin’s writings offered the opportunity to explore notions about science, the natural world, and the chasm that sometimes exists between observation and belief. A collector of strange and beautiful insect specimens and a digital technology enthusiast, Farnsworth produced his Origin: Species series using bugs from his own collection, as well as specimens from the California Academy of Sciences in San Francisco. The highly detailed images were digitally captured and then overlaid onto printed chapters of Darwin’s On the Origin of Species.
There is a calculated directness in Farnsworth’s work: an invitation to forget what you think you know and to simply look. He invites viewers to engage with the works’ content as fresh, raw data—just as pioneering naturalists like Darwin did in the years before museums and biology departments were commonplace. At the same time, the raw data of Darwin’s text reveals Farnsworth’s admiration for the epistemology of science. By subtly locating the specimens within a scientific context, Farnsworth reminds viewers that a considerable wealth of observation-based research informs the development of scientific theories like evolution.

Angel Pascual Rodrigo

Born in 1955 in Zaragoza, Spain, Vicente Pascual Rodigo began to study art in the Escuela de Artes of Zaragoza and the Escuela de Bellas Artes of Barcelona in 1969. He held his first solo-show in 1971 and has been exclusively devoted to art since then.
From 1970 to 1988, he worked with Angel Pascual Rodrigo in the two-man collectiveLa Hermandad Pictórica. During the period 1970 to 1974, they worked on installations and paintings in a style close to Pop but with a social agenda. 
In 1974 and 1975, Vicente Pascual traveled to Afghanistan, Pakistan, and India. InPushkar, Rajhastan, he studied the diverse arts and philosophies of India, which left an indelible marc in the way Pascual looks at the life. After his return to Spain in 1975, he became acquainted with the writings of Frithjof Schuon, Ananda Coomaraswamy and Seyyed Hossein Nasr. Aware of the accomplishments of contemporary art, Pascual championed a movement that advocated a return to an intellectual landscape filled with symbolism. 
From 1980 to 1992, Pascual's studio was in Campanet, Mallorca. During these years, he traveled regularly to Bloomington, Indiana. In 1992, he moved his studio to the United States where his art underwent a severe external change, reducing forms to fundamental geometry close to the essentialist conception of Agnes Martin's grids. As Chris Gilbert summarized, "for Pascual, the shapes-the circles, squares and other reduced glyphs-in his paintings are forms akin to the intersubjective schemas of understanding that Plato, Kant, and Cassirer saw as preconditioning appearances."

Alex MacLean

Shooting through an airplane window with a 35mm camera, Alex MacLean’s aerial views of housing in America effectively survey where and how Americans choose to live, and make a statement about both individual and collective values. Foremost among MacLean’s observations of urban and suburban housing developments is the tremendous lack of diversity with respect to design and architecture. Economic, regulatory, and commercial trends conspire to make new housing homogeneous and undifferentiated from one part of the country to the next.
  Pilot and photographer Alex MacLean has flown his plane over much of the United States documenting the landscape. Trained as an architect, he has portrayed the history and evolution of the land from vast agricultural patterns to city grids, recording changes brought about by human intervention and natural processes. His powerful and descriptive images provide clues to understanding the relationship between the natural and constructed environments.
   Alex MacLean earned a BA from Harvard College (1969) and a Master in Architecture from Harvard University Graduate School of Design (1973). He began aerial photography as part of a graduate study on community planning, and obtained his commercial pilot license in 1975. He was awarded National Endowment for the Arts Design Grants in 1980 and 1990. Recent solo exhibitions of his work have been held at Peabody Essex Museum, Salem, Massachusetts; Kansas City Design Center, Missouri; and Les Rencontres d’Arles 33rd Annual International Photo Festival, Arles, France. He lives near Boston.

Andreas Gefeller

Andreas Gefeller is a German photographer who first received recognition with his Supervisions series (2004-2009). In this series, Gefeller takes several photographs of one perspective from high vantage points—sometimes up to six or seven meters above the ground with his camera aimed directly downward. He then digitally assembles the photographs into a single image, creating a surreal and almost inhuman view of the ground below. Gefeller eliminates perspective through this method of assemblage, and as a result, the photographs appear incredibly flat, sharing visual commonalities with architectural blueprints rather than with aerial photography.
The sites that Gefeller photographs in Supervisions— namely, artists’ studios and parking lots— gesture towards human interaction with different environments without every directly showing individual human characters.
Gefeller approaches this series unlike some of his German contemporaries, such as Andreas Gursky, whose work depicts similar subjects on a similarly grand scale. Whereas Gursky seamlessly reconstructs scenes using technology, Gefeller often purposefully makes the digital post-production evident to the viewer through formal characteristics of his work.
The Japan Series, Gefeller’s latest body of work, debuted at Hasted Kraeutler in New York this past April as a part of the European Eyes on Japan/Japan Photography Today project, which depicts the complex constructed power lines around major cities in Japan. Photographed against black or white skies, these nearly monochromatic pictures eliminate the context of their environment and enhance the minimalist aesthetic value of these man-made constructions.

Jan Valentin Saether

The artist Jan Valentin Saether was born in Oslo, Norway in 1944. A student at both the National College of Applied Arts and at the National Academy of Fine Arts in the 1960s and early '70s he received training in both sculpture and painting.

In 1973 Saether moved to Los Angeles, California with his first wife and two young daughters. He built a career as an artist there and established several schools; first in 1977 at the old firehouse in Venice together with Alan Katz and Martine Vaugel, and later, in the 1980s Bruchion, a legendary school for art and gnosis together with his second wife, Liv Anderson.

In 1995 Saether moved back home to his native country Norway where he worked as associate professor at the National Academy of Fine Art, Oslo for a year before accepting the chair of figurative painting at the same institution after the media duel of the year as the only two painters found competent to hold this position were Jan Valentin Saether and his old friend from the student years, Odd Nerdrum. Saether held the position until 2002.

He is currently working on new projects and shares his time between his homes in France and Norway.


Achi Sinauridze (better known by the pseudonym Aki) is Georgian Contemporary artist. His works include computer arts, abstract art and experimental photography. He worked on abstract art in several years, than he began creating computer arts. Now he takes photos and cultivates them without using any computer program, applied his camera possibilities only.
He is self-educated artist and had never learnt in any art school or college.
Born in 1988, February, 28.

Ron Mueck

Australian-born, London-based Ron Mueck is as enigmatic as his sculptures. From a distended baby, stuck to the wall crucifixion-style and bearing an unnervingly intelligent demeanor far beyond his age, to a smaller-than-life, sick old woman, who curls up in a fetal pose under a blanket, Mueck’s works command an uncanny ability to amaze with obsessive surface detail and intense psychic discharge. Engaging and wildly popular, they expose our need to validate our humanity, even as they thwart our attempts at full disclosure.
Mueck first gained international attention with Dead Man, a naked, half-scale impression of his father shown in “Sensation: Young British Artists from the Saatchi Collection” (1997) at the Royal Academy of Arts in London. With no formal art training, he perfected his skills in the commercial world of special effects, model-making, and animatronics. In 1996, he presciently created for his mother-in-law, well-known British painter Paula Rego, a figure of Pinocchio, the quintessential embodiment of truth and lies. Saatchi saw this sculpture, and smitten, began acquiring Mueck’s work.
Since then, he has been making silicon or fiberglass and acrylic sculptures cast from clay models. A solo show at the Hirshhorn Museum and Sculpture Garden in Washington, DC, in 2002, featured the museum’s own Untitled (Big Man). More recently, exhibitions at the Museum of Contemporary Art in Sidney and at the National Gallery in London included work conceived during Mueck’s two-year residency as Associate Artist at the National Gallery. One of the sculptures, Pregnant Woman, an eight-foot-high Ur-mother with arms crossed overhead, feet squarely planted, and a downward glance, was purchased by the National Gallery of Australia, in Canberra, for $461,300, the highest price paid at the time for art by a living Australian.
To get bogged down in a debate over naturalism, realism, and illusionism when trying to sort out the hows and whys of Mueck’s oeuvre is to miss the point. More interesting is a discussion of his standing in the history of figuration. A certain freshness and sincerity of vision distinguish him from the blasé irony of many of his contemporaries who also explore strategies of realism. Above all, Mueck is a master at orchestrating tensions that both attract and estrange. His figures invite close-up inspection of blemishes, hairs, veins, and expression, taking you on a psycho-topographical journey. If you stare long and deeply enough, you experience a horrific beauty. Yet the very same verisimilitude creates a weird distance that is as equally penetrating of our current existential state.
In this interview, Mueck explains the genesis of Untitled (Big Man) and offers an explanation of his technique—a bold adaptation of traditional conventions in defiance of computer-assisted design. Part intuitive, part willed, his multi-staged process involves a series of experiments and discoveries. Far from a servile copyist of nature, he reveals the need of making selective adjustments to maximize the physical and emotional aura of his figures. In the end, Mueck’s success hinges on faith and control. Through mastery of his materials in a seamless, seemingly effortless way, he awakens our willingness to believe in images that our imagination keeps alive.

David Benjamin Sherry

28 year old photographer David Benjamin Sherry creates enthusiastic, eccentric photographs that transform the landscape, his friends, and himself into a sometimes psychedelic, sometimes punk, always rich and rather glamorous fantasy of youth in paradise. His first book, It's Time (Damiani), collects 48 photographs taken since 2006, when Sherry entered the Yale MFA program, and represents the artist's body of art photography to date through exotic locales, and posed yet intimate moments. In the book we see Death Valley rendered spearment and mirrored over a horizontal axis, such that the center of the picture appears like a vagina; elsewhere the artist is painted gold like an Oscar Award, set against a wave of cliffs straight with the color palate of a Jodorowsky film. In the book's title photograph (2007), a dashing skinhead is shot from below, the trees and the sky visible behind him. The color is bleached out, so the photograph looks like a photocopy from a zine (particularly those by Toronto punk-chapbook publishers GB Jones and Bruce Labruce).
Another bifurcation: this one is at two-thirds the height of the portrait, so that the sky both opens and closes, and the point of view becomes entirely disorienting.
The cover of the It's Time is a photograph of a cotton-candy Mt. Adams, Washington, pasted atop the cloth binding. It's an immediate tip-off to Sherry's dual interests in effervescent naturalism, and the material processes of photography. In interviews, Sherry consistently emphasizes that he doesn't digitally manipulate his work, which seems a moot point in an age where digital is the norm. But Sherry cares about analog photography, and his prints require extensive research, and a whole lot of patience, both on-site and in the dark room, to achieve. Describing an interest in process that defies cold formalism, Sherry says, "If I am romantic of the past for one thing, it would have to be the handwork, feel, emotional content, labor-intensive and traditional printing of photography." If photoshopping a picture relies on the assumption that a picture is a normalized fiction, Sherry's method holds out hope for an abnormal reality, even permitting, however melancholically, that the moment didn't occur quite as dramatically as it was recorded: "It's all about giving life to a still moment and trying to re-capture that energy through color, trial and error, and surprise."
But if Photoshop's effect on the documentary function of photography is a moot point then so, supposedly, is kitsch as a method of altering a viewer's understanding of an art object. And here's where Sherry's art photography as represented in It's Time (as opposed to his expert but relatively refined editorial photography) takes off by expecting nothing less than our complete acceptance of photography's enduring magic. Vivid colors and sexual fantasies aside, when Sherry photograph of his friend as a jewel-like nymph  legs splayed in the forest looking like a porcelain nymph, he names it no less than "Rainseraphita," a reference to Balzac's mythical symbol for sensuality. The background is so impossibly lush and stacked up with waterfalls and foliage as to invite comparisons to Thomas Kinkade. Elsewhere, a black and white portrait of the model Lenz Johnston, captured with the friendly intimacy of a Gap ad, is grandly called "And Then There Was Lenz." In spite of those comparisons, you never doubt the sincerity of Sherry's imagery or his exchange with the sitter—and the composition is stronger. It's Sherry's willingness to use heterogeneous, boldly referential, and out-of-vogue styles while embarking on an ostensibly romantic and autobiographical project that so experiments with the elements of contemporary photography. It's Time pictures a world beyond taste; a world that adventurously integrates itself into fashionable corners; and a world worth taking a long look at.
Taking a lead from his peers widespread commercial success, Sherry has shot some memorably fresh fashion editorials for magazines such as Dazed and Confused, Purple, i-D, V Man and Japanese Vogue. Part of the group of young artists (and much-chronicled downtown bad boys) around Ryan McGinley, Dash Snow and Dan Colen, Sherry makes photographs that range from reality to fantasy, from portraits to abstractions, landscapes to fashion. Drawing inspiration from contemporaries such as Wolfgang Tillmans to past generation artists such as Derek Jarman and Kenneth Anger. He has exhibited in Berlin, Vienna, Los Angeles and New York. This well-illustrated volume includes an essay by independent curator and critic Neville Wakefield.

Anthony Aziz

Anthony Aziz has been a member of full-time faculty at Parsons since 2001, and is currently Associate Professor of Fine Arts and Photography. He is an artist and photographer specializing in digital imaging, and a collaborator in the team of Aziz + Cucher. Since 1991, the team has exhibited photography, sculpture, and video installations in museums and festivals world-wide, including the Venice Biennale, The Biennale de Lyon, the Cooper Hewitt Design Museum in New York, the New Museum of Contemporary Art in New York, the San Francisco Museum of Modern Art, the List Visual Art Center at MIT, the Museo Nacional Centro de Arte Reina Sofia in Madrid, the National Gallery of Berlin, the National Gallery of Australia, and the Fondation Cartier in Paris. His work has been published in the New Yorker, New York Times, the Village Voice, Art in America, ArtForum, ArtNews, FlashArt, October, Cabinet and Parkett. The work of Aziz+Cucher was included in ART TODAY published by Phaidon Press, 2008. Aziz received his MFA from the San Francisco Art Institute in 1990, and is the recipient of awards from the National Endowment for the Arts, the Pollock-Krasner Foundation, and the New York Foundation for the Arts. Aziz+Cucher have a solo exhibition scheduled for Spring 2012 at the Indianapolis Museum of Art, which will be accompanied by a catalog raisonee featuring work produced during their 20 year collaboration.

Marina Bychkova

Marina Bychkova was born in Siberia and spent her childhood there until the age of fourteen when her family emmigrated from Russia to Canada. Her passion for making dolls began when she was six years old. 
Marina earned her BA degree from Vancouver's Emily Carr Institute of Art and Design, before perfecting her dollmaking skills by seeking out a course of studies in advanced jewelry making techniques, including lost wax casting, enameling and stone setting.
The sculptress sketches constantly, filling books with drawings of potential new works. She dislikes banal dollmaking intensely, and her own creations express ideas that challenge the commonly accepted attitudes about what a doll should be.
One of her iconoclastic beliefs is her insistence that dolls shouldn't be stripped of their sex to accomodate a view of sexuality as evil or shameful. Her BJD's are anatomically correct, with some featuring carefully painted, lifelike genitalia.
Marina also incorporates her unique and challenging views about mythology into her fairy tale creations, and her sometimes dark musings about human nature find expression in many dolls as well.
Artist Statement
"My need to work with dolls became evident as a calling when I was six years old. As a child I became painfully aware and appalled at the mediocrity and the uninspired dullness of mass-produced dolls. This profound frustration coupled with my natural sensibilities inspired me to create my own dolls, suited to my own ideas of feminine beauty. A particular point of interest for me was not only the life-like articulation of the body, but also the beautiful balance between a delicate form and an extraordinary function of a doll.
At first, I just wanted to have beautiful toys to play with for a change, but soon, my desire to make dolls evolved into its own passion for its own sake, and by the time I was ten I no longer cared about playing with what I made, because designing and constructing them became the most challenging, intriguing and entertaining game of all.
Although I began selling my first articulated paper dolls to my classmates in grade five, I didn’t make a decision to commit to a career of doll making until I was twenty four years old and with 3 years of art school struggle under my belt. Surprisingly it was my conceptual art training at the Emily Carr Institute of art and design that influenced this choice, shaping the direction and stylistic qualities of my work into its present form.
When I needed to come up with brand name to give my dolls an identity, I decided to name them after Paul Gallico’s fictional, short story called “Enchanted Doll”, where a young woman creates dolls with so much love that they enchant people at first sight with their compelling, delicate, life-like beauty.
And this is my goal also."

Brian Dettmer

Dettmer is originally from Chicago, where he studied at Columbia College. He currently lives and works in Atlanta, GA.
Dettmer’s work has been exhibited and collected throughout the United States, Mexico and Europe. He has had solo shows in New York, Chicago, San Francisco, Miami, Atlanta and Barcelona and has had projects exhibited in Mexico City, Berlin and London. He has been represented at several international art fairs including Pulse (Miami), MACO (Mexico City), ARCO (Madrid), Scope (London, Miami), Art Chicago (Chicago) and many others.
He is currently represented by Kinz + Tillou Fine Art in New York, Packer Schopf in Chicago, MiTO Gallery in Barcelona, Toomey Tourell in San Francisco and Saltworks in Atlanta. Dettmer’s work has been exhibited Internationally in several museums, universities and art centers including the Museum of Art and Design (NY), Museum of Contemporary Art (GA), the International Museum of Surgical Science (IL), Museum Rijswijh (Netherlands), Wellcome Collection (England) the Bellevue Arts Museum (WA), The Kohler Arts Center (WI), and the Illinois State Museum (IL). His work can be found in several private and public collections throughout the U.S, Latin America, Europe and Asia.
Dettmer’s work has gained International acclaim through internet bloggers, and traditional media. His bibliography includes The New York Times, The Guardian, Chicago Tribune, AJC, Modern Painters, Wired, The Village Voice, Harper’s, Time Out, The San Francisco Chronicle, and National Public Radio among several others.

Artist Statement:
"The age of information in physical form is waning. As intangible routes thrive with quicker fluidity, material and history are being lost, slipping and eroding into the ether. Newer media swiftly flips forms, unrestricted by the weight of material and the responsibility of history. In the tangible world we are left with a frozen material but in the intangible world we may be left with nothing. History is lost as formats change from physical stability to digital distress.
The richness and depth of the book is universally respected yet often undiscovered as the monopoly of the form and relevance of the information fades over time. The book's intended function has decreased and the form remains linear in a non-linear world. By altering physical forms of information and shifting preconceived functions, new and unexpected roles emerge. This is the area I currently operate in. Through meticulous excavation or concise alteration I edit or dissect communicative objects or systems such as books, maps, tapes and other media. The medium's role transforms. Its content is recontextualized and new meanings or interpretations emerge."

Chen Wenling

Wenling Chen was born in 1969 in Anxi, Fujian China.  He studied at the Xiamen Academy of Art and Design, and at the Central Academy of Fine Arts in Beijing.  He is now living and working in Xiamen and Beijing as a professional artist.
Chen Wenling is recognized as one of the top ten contemporary sculptors in China today.
In the Chinese contemporary art circle, Chen Wenling  is indeed a rising star who quickly establishes his artistic outlook. With persistent diligence and  vigorous creativity, he presents the world of art with one series  of work after another. He also participates in various exhibitions and attracts the attention of many people. More importantly, due to the
consistency  within the developing logic of his art, his works  are characterised by a salient feature.  In  the  contemporary art, the  unity between the personality of conception and the personality of style is  at least the basic measurement of mature art. By this standard, Chen Wenling has constructed his own world of art.

Many a critic has pointed out that Chen’s art originates from the reality of "consumer society". It is so indeed. For artists in Chen’s generation, the consumer culture bought by the development of Chinese economy and the resulting material abundance exerts profound influence on them  both in terms of visual perception and cultural context.  The problem faced by them is how to find an appropriate way to express their perception of consumer culture deeply and insightfully, realising the delivery of conception and creation of image at the same time. Judging from his works of more than a decade, we are able to observe that Chen closely follows his own focal perception, explores and refines his artistic language along the way and strives to express a precise perception with a visual image. With the "consumer society" as his theme, he focuses all his effort to the specific topic of how to materialise the "image of desire" so that he is able to represent vividly the features of this social reality.
It could be said that Chen’s art is strongly neo-realistic. He sensitively perceives the hedonism growing in the society at the age of rapidly swelling consumerism.  An artistic language to express, reveal and criticise this worldly reality is what he seeks and he finally finds his channel of expression by resorting to the "biological being" common to both man and animal. His works first present man at the state of certain ecstasy and glee, exposing the true nature of material desire in an ultimately egoistic phase, which can also be regarded as an artistic magnification of scenes from the material life. In many of his works, he juxtaposes the features of man and animal in one sculpture, thus  depicts the situation when the demarcation between man and animal or human behaviours and animal behaviours disappears. In terms of the mental state of  sculptures, the expression on the face of a man is as simple and obsessed as an animal, whereas the animals are given  man-like mental states and desires. No matter man or animal, they all appear to be in a deviated state of mind, happy and stimulated. The juxtaposition of  "personification" and  "hypostatization" is a method acquired by Chen in his exploration of art. He adopts this method nonstop in his series of works so  that it multiplies and gains more value, forming a developing momentum propelled by a self-sufficient driving power within.
To a certain extent, Chen Wenling is an artist who believes in the power of sculpting. Unlike many of his peers who have a constant interest in changing the medium of their art, he insists on in-depth explorations of sculpting as a form of art. The most conspicuous feature of his art works  is the modelling of a sense of  "expansion". In his modelling  of man and animal, he utilises broad and solid body parts together with many elastic curves to enable the  abstract 
concept of "desire" to express itself through the volume of the sculpture, the texture of its skin and lines of its body, with a perceptible feeling that desire is spilling out from its inside. In his recent works, he tends to use  a single gigantic sculpture or the repetition of a single image to form a hallucinating scene where man and animal, flora and fauna, the details and  the whole are reduced to a blur, resulting in a pervasive and continuous atmosphere. It is powerfully 
illusive yet it is a refraction of the reality. In many cases, it is not a single and concrete image that Chen Wenling is trying to produce but rather a scene full of life and vitality created by the language of sculpture.
When an artist possesses  a  certain  distinctive feature in his formal language, the origin of such form often comes under question. This problem is not only applicable to Chen Wenling but also to Chinese contemporary art as a whole. To answer this question, we need to trace the source of both the artist’s conception as well as his artistic language.  According to his life experience, these two share the same source. His works are immensely allegorical, both the man and things are magnified embodiments of  "desire", however, city, where social and 
economical progress are mainly made, is not the only source of desire; customs from the countryside also contributes its share. Chen Wenling grew up in a  village in southern Fujian province, where local  folk custom is filled with supplications and dreams about wealth. With the rising living standard, material desires expand and enlarge into  a  social psychological trend and invokes new scenes of life. These environmental elements have a direct influence on Chen’s thoughts. Although he has no intention to depict these vivid scenes as a whole, he still has direct perceptions of them. What he can do is to represent the sense of desire, the expression of which makes real situations specific and alive. In this sense, his language of art is not a simple appropriation from existing ones in the history of art, but a touch of life he 
himself has experienced. Certainly, powerful scenes and visual modelling in the folk culture also inspire him in the process. To a certain extent,  formal languages like the exaggerated modelling and round body parts in Chen’s work  are correlated with the traditions of southern Fujian folk art. Sensitively, Chen captures certain visual elements from life and  pushes them to the extremes in his work. 
Chen Wenling  has staged many exhibitions, but what sets this one apart is that besides his latest sculptures, the scenes he videoed at a temple faire when he returned to his home town is also on display. Amid the heated folk activities, we are able to see the local source of Chen’s art clearly. The overwhelming scenes of sacrifice, which have somehow turned into a visual miracle, demonstrate the power of materials. These two works, video documentation and his sculptures is clearly related either in content or in form, which also reveals the final answer to the riddle of Chen’s recent artistic creation. In this sense, the art of Chen Wenling is indeed an art with "well grounded form".

Kevin Titzer

Kevin Titzer (Born in 1972) is an independent artist and native of Evansville, Indiana. native has been making art for most of his life and has gained recognition in galleries across the country over the last few years. Much of his work originates as driftwood from the Ohio River.  His macabre little figures evoke the feeling of fascination inspired by circus freaks.
Kevin Titzer creates three-dimensional objects using wood, metal, and other debris found near his home by the Ohio River.  The 31 year old has been making art for most of his life and has established himself in galleries in Louisville and Nashville. His subjects are playful, yet some may carry a darker edge and suggest that much more lies beneath the surface.
Titzer says
"My process is fairly simple. I start off with driftwood that I collect from the Ohio River. Back at my studio I start to rough out the figure with hand tools. Typically the torso, legs, and base are all one piece of wood. The circumference of the base is the size of the log I started with. A head, arms, and hands are carved from smaller pieces of driftwood.
The next step is painting. I use many washes of acrylic paint on areas I want to represent skin. All of the wooden pieces are then attached with wooden pegs. When this is done I begin surfacing the outside with metal. In the past I have used rain gutters, candy boxes, ceiling tin, tackle boxes, and anything I can cut with hand sheers. This material is attached to the wood with many many tiny nails. Except for these nails and the paint, everything else I use to make my art is scavenged or recycled.
At the end of the process, I often fashion props for my figures to suggest a narrative. I enjoy telling open-ended stories with my work."

Richard Stipl

Working initially as a painter, Richard Stipl (Born 1968, in Sternberk, Czech Republic) has recently turned to making sculpture. Considered an exceptional talent in technical terms, Richard stands apart from his contemporaries through his uncanny ability to breathe a vital and invigorating “life force” into his art works, regardless of media.
Stipl's sculptures reflect a contemporary reinterpretation of a classical art form; rather than employ the traditional use of sculptural busts to glorify a subject, Stipl uses his art as a vehicle that forces us reconsider the role of boundaries and consequent categories of choice that comprise contemporary attitudes and approaches to art-making and art-consumption.

Using himself as a model, Richard Stipl‟s sculptures are proportionatly correct miniatures of himself. The figures made from clay wax and resin are dark yet humorous representations of the infinite cycle of recreation and rebirth undergone in a lifetime. He focuses exhaustively on the infinite nature and moment-to-moment paradoxes and singular moments that compose this cycle. The artworks are about „capturing an individual, analyzing his expressions, his weaknesses, and his limitations.‟

Magda Trzaski

Magda Trzaski received her B.F.A. at the University of Ryerson majoring in new media. Since then she has been showing in many group exhibitions. Her work is influenced by the rich Memento Mori and Vanitas themes in 17th century Dutch paintings and also, the Victorian obsession with the death culture. Compartmentalization is a reoccurring element in her work, such as taxonomy, order, boxes, collections, cabinets of curiosities, and photographs held captive within their frames. 
See the podcast of her interview Here

Jim Skull

The self-proclaimed ‘skull artist’ going simply by the name of Jim makes tribal-inspired skullptures, out of woven rope,papier mache, string and other simple materials. His work is surprisingly diverse, often highlighting the various ways in which the image of a skull will eternally hold sway over our imagination. 
the artist calling himself jim skull creates intricate sculptures of his namesake: skulls. using a variety of different materials, the new caledonia-born artist uses the skull form as his means of expression. skull is now based in paris and besides making elaborate skulls, he has also developed a new series of skulls, that each reference a well known figure including furniture designer andree putman, fashion designer agatha ruiz de la prada and LSD inventor timothy leary. 
Based in France, skull artist Jim was born in New Caledonia, “gateway for Oceania and many other horizons. He goes to New Zealand, stops over the New Hebrids, discovers Australia, India, and lands in Hong-Kong. Human experiences, cultural, ritual, he is marked by his travels and encounters…” He is informed by “contemporary art, African, Oceanian, Amerindian, popular, religious…multiple passions and a melting-pot of influences”. Now that’s a lot of location-dropping, but it’s evident that a lot of brain-stewing and new-material-hunting goes into his sculptures.

Scott Radke

Cleveland Based artist who works from his subconscious imagery… Mixed media sculpture, animal human hybrid explorations. Highly influenced by nature.
Radke’s artwork can be found from London to Los Angeles… from major art collections (Mark Parker, former Nike CEO) to work and design making cameo appearances in such films as Walt Disney’s Academy award winning Alice in Wonderland Directed by Tim Burton.

Crystal Morey

Crystal Morey graduated with a BFA with an emphasis in ceramics from California College of the Arts. Morey possesses a rigorous and prolific studio practice in Oakland, and teaches ceramics at UC Berkeley's ASUC. Artist residencies to-date include Penland School of Crafts in North Carolina and the Watershed Center for the Ceramic Arts in Maine. She has exhibited in Atlanta at Young Blood Gallery, in Pittsburgh at Los Medanos College, and in San Jose at Anno Domini, among multiple local shows.

"My intention is to explore human emotion, and its relationship with the environment. I want to study the tenuous, symbiotic balance between human necessities and the health of our forests, oceans, mountains, and deserts. I want to combine my love for sculpting and making with more concrete knowledge of botany, ecology, and environmental studies. I want to investigate ideas of man vs. nature and our destruction of the earth. I want to explore the psychological aspects related to the disintegration of nature and its effects on psychosis, body language, and attitude towards life. In my work I want to reveal the delicate relationship of humans to the earth and the balance that is needed in order for life to continue." -  
Crystal Morey