Reality is somewhere between clear and abstract, somewhere between inside your head and what others see. I've been enjoying mirrors lately. Do we see two people, or one? Or both? When I collage I grab things intuitively, like a time capsule for myself. This time I swiped from the Grimes song, Kill V Maim, to fuel the art a bit: Oh, the fire it's alright 'Cause we can make 'em all go crazy We can make 'em wanna die Oh, the fire it's alright The people touch it I can't touch it, even though it's mine I don't behave, I don't behave, oh ehI don't behave, I don't behave, oh eh I don't behave, I don't behave, oh Are you going to the party? Are you going to the show?
In his collage portraits, Derek Gores recycles magazines, labels, data, and assorted found analog and digital materials to create the works on canvas. The series showcases Gores' contrasting interests in the living beauty of the figure, the angular and abstract design aesthetics of fashion, and a fearless sense of play. His fine art canvases are exhibited by galleries in New York, Los Angeles, Chicago, Sydney, Cologne, Miami, Santa Fe and more. Gores' design clients include Dwell Magazine, Lincoln Motor Co., ESPN, Lenny Kravitz, Lucasfilm, Kings of Leon, U2, Adidas, Madonna, Harley Davidson, Standard Collective, the National Football League, LiveNation, SEIU and more.
The Rhode Island School of Design grad lives and works in Melbourne, Florida, exhibiting and curating with the bold upstarts there, surrounded by the intellect and culture of the Space Coast. Derek was honored to have his work selected for the Manifest Hope DC exhibit coinciding with the Presidential Inauguration in 2009, and in 2010 he was named "One of the 40 important artists of the New Contemporary Movement", while in an exhibition in London.
"I like my pictures to barely come together with teasing little details. Sort of like how the mind can't help but wander, even when trying to focus on one thing. In the collages, some of the little bits I use are deliberate, but in most I'm trusting randomness to help build an end result more interesting than I could have planned. One friend calls it a 'Zen Narrative.' "
His subjects are simply figures and objects in a space, influenced by heroes Gustav Klimt, Egon Schiele, Franz Kline, Rube Goldberg, Max Ernst, and, "those great old long-exposure photos of Abraham Lincoln, where you can feel the whole minute inside each image. I love that buzzing stillness. I do reference a classic beauty, but made of raw and geometric and un-designed parts. My real subject in the figurative women is the study of 'Fierce'. Strength, honesty, vulnerability- admired with utmost respect. I'm not interested in heavy, conscious concepts- I make something simple and let the elements combine in the head, reacting with each history the viewer brings to the table. When it goes well, I hope to create a real experience, instead of just a picture of an experience. But that sounds a little too huge... really I'm always hoping for that feeling of having the senses of a kid, where everything is new."
This painting depicts the limitations society places on women, corrupting what truly is beautiful by placing them in these prisons of identity. By doing so, society is asking them to become superheroes. The work is an offset of American comics, synonymous to entertainment and fun. This is exactly the goal of the series - a daily struggle against that which is imposed by society and the very expectations we impose on ourselves I keep myself busy in many ways; single mom, business woman, artist, the household, romance, errands. It puts a lot on one’s shoulders. We overwork ourselves. We are all slaves to something or of something. And in comic books, despite all the playfulness of the thing itself and all the “POW BING BAM,” superheroes are also fragile. We are merely human men and women and we are entitled to the flaws and errors. Lets be proud of who we are, be fierce and strong.
Sandra Chevrier, who calls herself a “gaze collector,” creates hyperrealistic paintings of women that stare out towards the viewer. Reinterpreting the superhero mask, Chevrier covers these images with a collage of comic book prints, using scenes from Superman and Batman to conceal the faces of these idealized women. Chevrier selects sections of comic books that portray “fragile heroes,” promoting the idea that vulnerability often underlies heroism. Titled “Cages,” these mixed-media works encourage viewers to consider how the modern woman—like these superheroes—might also be surrounded by expectations of effortless perfection.
Jennybird Alcantara's minutely detailed oil paintings possess un-borrowed symbolism, drawing the viewer deeply into a world both strange and beautiful. Dreamlike narratives form the core her paintings where the complex interconnectedness of opposites appear through the prism of myth, fable and fantasy. Jennybird uses the symbolism of duality to explore the connection of life and death and the veil in between.
Born a minister's son in 1977 in Seoul Korea, Young Chun remembers as a child, living in a small attachment to a hillside church for a brief time. The weekdays spent running around with imaginary friends in the dim empty chapel has fueled his imagination, contributing to his artistic growth. The "chapel" has become a permanent fixture in his creative mind - where he constructs, develops, and stores works in progress, before they ever meet a sketchpad. In 2000, Young received his B.F.A, from the Art Center College of Design, in Pasadena California. After several years of painting without clear direction, he stumbled into the opposite end of the spectrum - into the healthcare field - to search for "substance" and "something deeper in life". The years spent working as a respiratory therapist, helping people who were faced with life and death situations, has expanded his outlook in life; adding to his artistic vision. In February of 2011, Young resumed working as a full time artist. He currently lives and works in Orange County, California.