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."