"For the last several years I have been exploring color and its many variations. It highly influences and triggers my creativity. I use my favorite color combinations to create paintings in which color moves vibrantly through space; designing the flow of color by interpreting its relationship with emotion. I paint the characters that live in the dark kingdom of my imagination, bringing them to life by letting them evolve on the canvas before me. It is my hope to create a romantic and surreal experience for the viewer." -FJ

David Pryor Adickes born January 1927, Huntsville, Texas) is a modernist sculptor and painter. His most famous work is the 67-foot tall A Tribute to Courage statue of Sam Houston in Huntsville, Texas. Influenced by countless artists whom he has worked alongside throughout his long and illustrious career. (Picasso, Modigliani, Dali, etc.)

After spending the past decade presenting optimistic scenes symbiotically uniting natural and urban environments, this body of work explores the devastating effects climate change is having on the Canadian landscape. Shackleton travelled to each province and territory across Canada in search of sustainable architecture for a past project. More often than not, she found herself standing in climate-ravaged landscapes already affected by global warming.

Extreme weather events are becoming more frequent and hitting closer to home. Forests are burning, lands are flooding and glaciers are melting. Inspired by this immediacy, her new paintings present local and national environments in the midst of ecological destruction. Shackleton reminds us that we are all playing with fire. Her work is a call for action and a stark prediction for environmental futures.

Due to a physical ailment (a large benign tumor in her right hand) Sarah’s creative process is unique. She works primarily with acrylic paint, alcohol ink, pen, synthetic film and canvas. All works are created on the floor and without use of paintbrushes, easels, or hand-dryers. Sarah is self-taught and has learned how to work alongside her limitations which has opened up infinite artistic expression and experimentation. She flows or drops her mediums onto canvas for the base of her works, and then intuitively applies line-art with pen or an acrylic refillable pen, thereafter.

Sarah prefers blending ink with acrylic because it’s an ever unfolding surprise. The mediums compliment each other beautifully and have their own life upon hitting the surface. The flow takes its own shape just as much as the line-art. She finds a lot of joy when there is a chemical reaction after the alcohol ink, pen and acrylic meet.

Modern geometric painting has had a very big influence on me especially the works by
Constructivist artists such as Malevich and El Lissitzky and the various other modern Art movements of the early 20th century such as Cubism, Neoplasticism, and Surrealism. In my current work I tend to fuse all these different influences and combine them with my own personal aesthetic. My goal is to create a new, non-objective, geometric visual language with a futuristic undertone that transcends the past and points to something new and different.

We live in a digital age, so I use the hard-edge approach which adds that digital feel to my compositions. I want the works to be striking visually and appeal to our sense of beauty thus my use of rich and vibrant colors, contrast, robust geometric forms, clean lines, elegant compositions, etc. There is also a certain metaphysical and surreal component to my works that gives it a sense of mystery, enigma and visual drama. Furthermore, I seek to create visual paradoxes by intertwining two-dimensional and three-dimensional space to add tension, ambiguity and dynamism. My aim is to challenge the viewer’s perception of space and test the boundaries of what is possible by juxtaposing the seemingly impossible.

With its roots deeply intertwined in the enduring legacy of medieval and early Renaissance art, this pastel establishes a connection to artistic lineage and transports observers to the Cenacolo Vinciano—the sacred dwelling of Leonardo da Vinci's Last Supper mural. This homage to art history forms the bedrock while the very essence of "Personal Sun" draws sustenance from the allure of found objects. Each object portrayed carries an emotional weight that delves into the enigma of attraction marked by hue, luster, humor, and age—an exploration into human perception and emotion. The composition resonates with the emotive weight of found objects. The radiant presence of a bright yellow sun, the whimsy embodied by the Chinese frog, and the enigmatic Nous symbol converge to unravel the profound enigma of attraction. These elements, adorned with color, shimmer, humor, and the patina of age, urges viewers to participate in the same type of meditative journey as the one Leonardo wanted his viewers to take on looking at the Last Supper mural.

Layered with symbolism and introspective depth, "Personal Sun" poses the quintessential question of existence—whether or not a divine presence graces us. The paper piece becomes a vessel for this existential inquiry, adorned with a personal quote strategically placed to fuel further contemplation. At the artwork's base, an inscription thoughtfully reads, "You will find out who made humans through mathematics or by looking at the sun." This theorem nudges viewers toward profound contemplation, beckoning them to explore the nexus of God, science, philosophy, and being.

Part of Freaker’s Ascent series of works that explore the staircase motif. Each of the pieces has different architecture that has its own feeling. Some have more hope and aspiration, some tell a story of movement from one place to another. Others suggest a feeling of a space in time like a summer adventure or the end of the world. In this, the sharpness and acidity of the colours and the pointy forms feel like broken shards of glass. Hence the crystalline title that reflects the feeling of pointiness and stabbing. The use of negative spaces allow a more experimental background to come through. The layering and transparency also contribute to the feeling of glass, but also give a sense of movement and fluidity that brings a life and presence to the work.

Dorothy Hood
Untitled, 1982-1997
Collage on Mat
30 x 20

Following a 1981 trip to Egypt, hood collected printed papers which influenced her collage series for approximately a decade.

The painting of Kevin de Lao focuses on psychological and psychiatric issues, as well as tells us about the absence from everyday life. Much of his work from 2018 to now belongs to private collections (nationally and internationally). Currently he dedicates himself entirely to painting. Kevin lives and works in Lima.

Davenport’s process is both rigorous and intuitive, a dialogue between the material and the metaphysical. His works often begin with photographs of his own studio floor, capturing the raw, accidental beauty of paint stains and splatters. He then integrates fragments of vintage magazines, mid-century advertising, and ephemera sourced from years of travel. These disparate elements are meticulously transferred onto panel board using gel mediums, layered with washes, strokes, and expressive gestures of paint.

The result is a deeply layered, almost sculptural composition where each layer carries meaning. The application of additional gel medium creates a fluid, melting effect, allowing the viewer to experience the work as if it were in a state of flux—fading, emerging, and evolving with each glance. This alchemical approach, combining precision and spontaneity, culminates in a final coat of polyurethane, which not only protects the piece but also enhances its vibrant interplay of color and texture. The end result is an artwork that oscillates between the past and present, abstraction and reality, offering the viewer a multi-sensory experience that resonates on both intellectual and emotional levels.