“‘One of Britain’s best-selling figurative painters’, Mark Demsteader was born and remains in Manchester. Over a long and illustrious career he has a built up a huge global following, including a long list of celebrity clients, namely Emma Watson, who famously sat for a portrait series by the artist in 2011. With his preferred mediums of charcoal, pastel and oil, Demsteader has immense technical ability which has grown from close observation of the human form from life drawing. His drawing have won multiple awards including The Lyceum Prize and the coveted Sidney Andrews Scholarship, and through his contemporary use of line and form, he has renewed interest in traditional life drawing and classic figurative paintings amongst art collectors worldwide.
Using life models, his figurative drawings often depict the head, thorough in detail, and paying careful attention to every attribute on the subject’s face. The rest of the image is left experimental as he abstracts the figure into merely a few lines, leaving the canvas seemingly unfinished. In contrast to his drawings, Demsteader paintings do not have open space and are filled with rich textures, bold colour, and heavy movement. His figures are very soft, delicate creatures, which are placed in a harsh, often overbearing backgrounds – adding an alluring sense of mystery to each piece.” – Unit London
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."
The girl had had enough.The fighting; clawing her way out from behind a face of grasping perfection. Her body was something that was worshiped and criticized till there was nothing left to worship.So she became addicted to the criticism because in it, she was reminded of the glory days of adoration. But she was fucking tired.She had been fighting to know herself since her birth, but constantly fought against the current of sandpaper that claimed it existed to make her smooth, but really it just stung, and she worried about the scars it would leave. She had been battling the scrutiny, the rulings over her body; her wages; her cellulite; the bridge of her nose. So much war around her that she didn’t know what to fight anymore: Others or Herself.So she became very quiet. She put her face on, and bled in silence. She kept telling herself that she was not a whore...a silly thing to employ as consolation when she knew herself to be a Lamb. She developed ways to cope, ways to appease; ways to manipulate from behind her beautiful facade, for she was not allowed to have it out on the battlefield; some might call it kind of sexy, maniacal crazy. But beneath the god-damned rules, and below her raging hormones, and the drama, and the urge to pull away, which she dutifully resisted, no one could touch her. No one could claim their right to her skin and mind, and in the quiet hours of the night, she knew this to be truth. So she woke up, and she rose from the trenches of her soft bed, and she put her face on: her makeup; her face paint; her war paint; her “whore” paint, as some might call it, their eyes squinting in slits of judgement. Her battle, she knew, was one that existed outside, as well as inside: a civil war. Her only job was to know when to fight, and when to put her hand up, never in surrender, but in dismissive mockery. She would take back what little of herself that she had, and she would fight for it. So nanny nanny boo boo, mother fuckers, nanny nanny boo boo.
Dorielle Caimi was born in Alexandria, VA, USA in 1985, raised in New Mexico, and currently lives and works in Albuquerque, New Mexico.
She completed a BFA (Summa Cum Laude) in Painting from Cornish College of the Arts in Seattle, WA in 2010 and a Master Class in Painting at the Art Students League of Denver, CO. in 2013. Caimi’s work has been shown/featured internationally, and in publications such as PoetsArtists, American Art Collector, Hi-Fructose, Combustus, Juxtapoz, and Printer's Devil Review (cover). She was recently awarded the William and Dorothy Yeck Award in 2015, juried by Franklin Sirmans, for work that "visually responds to painting in the 21st century." Her works have been acquired by Miami University Permanent Art Collection, The Tullman Collection, and The Art of Elysium Charity Auction. She is currently represented by Gusford Gallery in Los Angeles.
Jaclyn Alderete is a San Francisco Bay Area artist, originally from Albuquerque, New Mexico. She draws her inspiration from many things; the human condition, social and environmental concerns and desert nostalgia.