Lepkowski explores the role of modern technology in society, both in his subject matter and his artistic process. He builds software and web applications that rely on human touch as the primary form of interaction. Intertwining these digital tools and analog techniques, he creates maximalist, multi-layered compositions that reflect the noise and stimuli of the digital age.

James F. Dicke II began painting at the age of eighteen when he studied under Warner Williams, à bas-relief artist and amateur astronomer at the Culver Military Academy, in Indiana. Five years later, he received a bachelor of science in business from Trinity University, Texas. Dicke is chairman and chief executive officer of Crown Equipment Corporation, one of the largest manufacturers of industrial forklift trucks, founded in 1945 by his grandfather Carl H. Dicke. In his art, Dicke draws inspiration from nature and his contemporary art collection, which includes emerging artists as well as established names such as John Currin and Philip Pearlstein.

During the pandemic, Such spent her free time trying to ease her mind by drawing lines with markers on paper, and these lines have become the intricate and meditative drawings that we see today. This type of art is called intuitive drawing, she never knows how the piece is going to look at the end, because the focus goes to feeling every single line connect with another, flowing with the movement. The abstract drawings adapt to many different spaces, from home to offices, thanks to their organic feel and modern look.

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.

"Arthur Brouthers experimented for years with acrylic paint and other mediums before arriving at his current process, which produces wild textures that mimic celestial bodies and microscopic processes. In the artist’s figurative work, the human body takes on otherworldly form when it consists of this material.” 
-Andy Smith of Hi-Fructose Magazine

Lepkowski explores the role of modern technology in society, both in his subject matter and his artistic process. He builds software and web applications that rely on human touch as the primary form of interaction. Intertwining these digital tools and analog techniques, he creates maximalist, multi-layered compositions that reflect the noise and stimuli of the digital age.

Caspers' works are intended to invite you to pause for a moment, to perceive and enjoy the moment with all its small details, to lose yourself in color gradients and to be reminded of how beautiful these small moments are.

Works that are meant to stop us from letting time pass us by unnoticed, to leave the future in the future and live in the here and now. They are meant to remind us that it is the small moments that make up our lives and make us happy. My goal is to create interactions between artwork and viewer that explore themes such as identity and perception. I want to create spaces of mindfulness where people can leave the hustle and bustle of everyday life behind and grasp the nuances of the present moment.

This vibrant silkscreen print features a lively bouquet of blue mallow flowers, capturing their delicate beauty with bold, expressive strokes. The blossoms, in various shades of blue with touches of yellow at their centers, are beautifully contrasted against the fresh green leaves and stems. The white background allows the colors to pop, while a subtle yellow border frames the composition, adding a touch of elegance. This artwork wonderfully captures the cheerful and natural essence of mallows, perfect for bringing a touch of mid-century charm and floral exuberance to any space.

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.

Raster is an American, multidisciplinary artist, with a
deep focus on contemporary pop art sculptures and
paintings. He manifests a rich palette of mixed nostalgia
that cuts across identities and generations.

His art has been influenced at a young age by his
enjoyment of pop culture, skateboarding, online gaming
and street art.

Raster’s break-thru original character “Scrappy” has received attention
from brands in the fashion, music and gaming industries, since early on in
its creation. Scrappy stems from Raster’s upbringing and the sculpture’s
stance is based on a uniquely jarring street art moment from Raster’s teen
years.

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.

1131 Rampart St, New Orleans, LA

Hoffmann's work looks to the history of landscape painting, while grounded in larger issues around climate change, resilience, breaking racial, social, economic boundaries, food apartheid, and self-sustainability. Hoffmann draws from personal experiences as well as historical references that thread together painting, light, film, architecture, and sculpture.

Lyrics from "Moment of Clarity" by Jay-Z

Calligraphic Series - "This series developed mostly due to my love of music. I started working with cold wax in 2015 and found it allowed me to layer and write by using the back of my brush. I started inscribing lyrics in calligraphy, adding 5 or six layers until ultimately abstracting each piece. Along with lyrics I started writing quotes, phrases, and poetry. During this period, I mostly worked in black and white. Being color blind, I wanted to focus more on shading and contrast. These pieces take time. It’s a very meditative process and I’ve always loved the simplistic beauty of handwriting. With technology today, I think it’s fading away quickly and may become a lost art altogether."

‘Aimi’ was one of my most intense works. I have loved every process, the mix with the colors, and the compositions was definitely a great challenge. A fusion between what we see and what we can imagine.'

"I have thought that art treasures the magic of the universe, it brings us closer to it, and all this by virtue of its ability to amaze us. From the privilege of its ability to leave us speechless.

It is in this sense that I feel at the opposite pole of conceptual art. I do not want my painting to be understood, as concepts, theories or proclamations and manifestos are understood.

I believe in art as a mystical tool, which through the senses is capable of bringing us to a moment of contemplative bliss. I believe in the wonder that a work of art awakens in us and makes us pay attention as if we were children, returning to the present, thus connecting with the bliss that emanates from our divine essence."

Dennis Hollingsworth is a painter whose works fuse abstraction with a pop sensibility. His paintings have a sculptural quality and a low relief—an effect he achieves by using thick impasto to build spikes of paint and textured surfaces. Hollingsworth also prefers to make his works without paintbrushes; instead he squeezes and dribbles the paint directly onto the canvas, or uses unconventional tools to scrape or cut into the paint. He works only in wet-on-wet, meaning that he does not touch the surface of the painting after the work dries. Certain motifs recur in his work, including stripes, spikes, and sometimes text.

Rooted in the rich legacy of modernist abstraction, Torezan has developed a unique visual language using elements of geometry and optical illusion to create fresh and dynamic works of art.

In his work, shapes and lines seem to float around each other as if they were suspended in space. Layers of contrasting colors enhance the exuberant depth effect, evoking a sense of movement and vibrancy.

Hoffmann's work looks to the history of landscape painting, while grounded in larger issues around climate change, resilience, breaking racial, social, economic boundaries, food apartheid, and self-sustainability. Hoffmann draws from personal experiences as well as historical references that thread together painting, light, film, architecture, and sculpture.

Jesus Pedraglio Belmont
Large Triangles
Wood and Thread
79 x 53 x 4

Artist Statement: Moving Energy, Space Seduction, All Relative

His work proposes a construction in which the thread becomes the canvas and painting, he proposes the union between the geometric and the organic using unusual materials to investigate the formal structure and the vibration / tension of color.

Important artists who influenced Hochberg's work include Motherwell, Modigliani, Miro, Frankenthaler, Cezanne, deKooning, Lautrec and others.

Ted Pillsbury, art expert and former Director of the Kimball and Meadows Museums reflected: "I think she (Zanne Hochberg) was the kind of person who never wanted to be pinned down to a school or a particular style. Her art was a means of expressing something about herself, her feelings, her life and the world, and beauty and truth; and, she produced a very solid body of work. I think arguably, over time, some of her work is going to be recognized as being very important, influential and progressive. " 

Hochberg was a prolific artist who was best known for her abstract paintings. She referenced human figures in many pieces, and worked in other media including prints, works on paper and constructions. Hochberg spent the final decade of her life painting historical family portraits, which received much acclaim when exhibited in a 2011 museum retrospective at the San Angelo Museum of Fine Arts in San Angelo, Texas. During Hochberg's lifetime, she enjoyed a strong following, exhibited paintings in many distinguished galleries and museums, and appreciated the acquisition of her work into important private and public collections, including the Dallas Museum of Art (1980).