Stephen Eichhorn

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Stephen Eichhorn is a Chicago-based artist.  His first book, Cats & Plantswill be published next month by Zioxla, featuring Eichhorn’s amazing collages of cats, plants, and more.

Obviously, I’ve already preordered my copy.

To see his other work, click here.

Eny Lee Parker

enyleeparker

Eny Lee Parker currently resides and works in Savannah, Georgia.

The purpose of her designs is to explore the human need/want. Her fascination with the mind and behavior of people leads to objects that echo humanity in character, emotions and even physicality.

Apart from her design ambitions, she enjoys a creative community, ceramics, occasional wine + cheese, and hosting.

To see more of her work, click here.

Maria Hassabi

MariaHassabi

“Maria Hassabi (b. Cyprus) is a New York-based artist and choreographer. Over the years she has developed a distinct choreographic practice involved with the relation of the body to the image, defined by sculptural physicality and extended duration. Her works draw their strength from the tension between the human subject and the artistic object, the dancer as a performer and as a physical entity.”

You can see more of Maria’s work here.

Images and text from mariahassabi.com

Lisa Anne Auerbach

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Lisa Anne Auerbach is an L.A. based is an American textile artist, zine writer, and photographer.

To see more of her work, click here.

Lea Maupetit

LEA MAUPETIT

Léa Maupetit is a French illustrator, living and working in Paris. After graduating from ECV Paris in type design in 2015, Léa developed her own style of illustration, based on working with bright and vivid colors, with compositions full of life and humor.

To see more of her work, click here.

Jibade-Khalil Huffman

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“Jibade-Khalil Huffman is an artist living in Los Angeles. He is the author of three books of poems, 19 Names For Our Band (Fence, 2008) and James Brown is Dead (Future Plan and Program, 2011) and Sleeper Hold (Fence, 2015). His art and writing projects have been exhibited and performed at MoMA/PS1, the Hammer Museum, the Museum of Contemporary Art, Los Angeles, Public Fiction, Marianne Boesky East, and Southern Exposure, among others. Educated at Bard College (BA), Brown University (MFA, Literary Arts), and USC (MFA, Studio Art), his awards include the Grolier Poetry Prize, the Jerome Foundation Travel Grant and fellowships from the Lower Manhattan Cultural Council and the Millay Colony for the Arts.”

You can see more of Jibade-Khalil’s work here.

All Images and text from jibadekhalilhuffman.tumblr.com

Thomas Dambo

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Thomas Dambo is an artist / designer based in Copenhagen, Denmark. Together with his crew Thomas makes beautiful and fun projects out of “trash” / recycled materials, which they find around the city dumpsters. By doing this he hopes to inspire people to have fun and think of trash as a resource.

To see more of Thomas’ work, click here.

Sarah K. Benning

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Sarah K. Benning is an American fiber artist with a nomadic studio practice (primarily splitting her time between the U.S. and Spain).  Originally from Baltimore, she attended the School of the Art Institute of Chicago and received her BFA in Fiber and Material Studies.  Shortly after graduating in 2013, Sarah discovered her love for embroidery almost by accident and the hobby quickly turned into her full-time career. Sarah is temporarily working from home in Menorca, Spain.

To see more, click here.

Senga Nengudi

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“I live in the fourth dimension when I create landscapes.

These landscapes are made out of materials that are discards and commonplace. I like to dance with the spaces I occupy, creating a triad. Partnering, we show what each other have to offer. Selection of a site and materials is critical to my creative process. They are my way into a concept that seems to usher forth (take form) from my manipulation of them.

I prevail with ‘what is at hand’. My installations are subtle and intimate, involving issues of time and personal change. They are durable like a bird’s nest with viewers feeling welcome enough to shift from observers to participants. Utilizing masking tape, gravel, dirt, newspapers, powdered tempera, seedpods, stripped pantyhose, photos and found stuff is a statement in itself.

To shape shift paradigms I find different ways to use materials others consider useless or insignificant providing proof that the disregarded and disenfranchised may also have the resilience and reformative ability to find their poetic selves.”

 

You can see more of Senga’s work here.

All text and imagery from sengasenga.com

Now Featuring Lisa Ostapinski

Lisa Ostapinski uses wax and gold to create paintings that are as laborious as they are luminous. Juxtaposing intuitive form against the ceremonial history of gilded painting, Ostapinski invokes the visual dimensions of spiritual exploration.

Exclusive Print, Rain

Print 1, Rain

Exclusive Print, Diamonds

Print 2, Diamonds

Exclusive Print, Pyramid

Print 3, Pyramid

Print 4, Triangles

Print 4, Triangles

Print 5, Rainbow

Print 5, Rainbow

Print 6, Temple

Print 6, Temple

MH: Can we start out talking about your materials? I’m familiar with encaustic paint, but can you say a little about how you you it, what you like about it (I love it myself, but it’s frustrating, too). Also, some of the liquid qualities I associate with wax are in the marbled motifs in your works on paper.

LO: I have been working with encaustic (beeswax) for 20 years.  It’s an incredibly rich, beautiful and dynamic medium; there are so many ways it can be used and I have tried almost all of them.  What I like about it is that it is natural and beautiful and smells good.  I prefer natural materials opposed to acrylic and I like using materials that are untraditional or unexpected.  I love the way that the beeswax looks and smells and the energy it has; it’s alive and rich, never lifeless or flat-looking like traditional paint and canvas can be.

It is also incredibly labor intensive to use, and can be very unforgiving so it has been years of experimentation for me with lots of ups and downs.  I melt it, add pigment for color, paint it onto wood panels and then fuse it with a paint stripping gun.  Then I add things on top like fabric remnants, metallic leaf and/or oil paint. I also carve into the surface with a needle tool.

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MH: Where does your palette spring from? Your work isn’t quite monochromatic, but it a deeply pared back blue, black, white and of course shimmering gold leaf.

LO: I have a limited palette (mostly just black and white and gold leaf) because there is so much already going on visually with my work because of the materials that adding in color is overwhelming to me.  This is funny because I love color and my house and clothing are like a rainbow but I can’t work like that with the mediums I choose.  I use a muted color palette because it emphasizes the forms and the textures of the surfaces.  My work is really about light and the reflective qualities of the materials I use so adding too much color would detract from that.  The encaustic and gold leaf pieces reflect the sunlight all day and can look completely different at different times of day or night and in different rooms with different light sources.

MH: How do you research or sketch your work? Some of your materials, like gold leaf, marbling and encaustic require a lot of preparation to set up, even to do something straightforward, like to make a shape or cover a surface, and even more work to undo if it goes wrong. So I assume there’s some planning and idea generation happening for quite a while before you approach the main work itself.

LO: I spend an enormous amount of time planning and preparing my work. Once the encaustic medium is melted and gilded, when I carve on top I can’t make a mistake because is incredibly difficult to fix or cover it up. I plan my images ahead of time with sketches and then I make stencils to trace on top of the encaustic for carving.

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MH: You mention that you’re interested in sacred geometry. Can you explain sacred geometry and what it means to you and how you use it in artwork? And why?

LO: Sacred geometry and spirituality play a part in my work.  My imagery draws from many different cultural traditions that express god or spirit in geometric configurations or that utilize shapes to represent abstract ideas about the spiritual realm.  This is something that I experienced very intimately in my childhood.  I was raised very religiously (Catholic) and in Catholicism or the particular flavor of Catholicism that I grew up with, visual imagery is used heavily.  In my experience visual imagery played a major part in prayer and in the formation of my own ideas about spirituality.  Now I am an atheist and that is something that is conflicting and very difficult for me almost on a daily basis.  In short, I make art because I don’t believe in god.  Not believing in god is very scary for me, so making art is a way of dealing with the intense emotions I have about it, it’s a way that I work these ideas and feelings out visually.

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MH: How has your education background and teaching practice influence your studio work, and vice versa?

LO: I have been an art teacher to children for seventeen years. Several years ago I chose to get a Master’s degree in art education and not in visual art, which was a big decision for me.  I find the process of teaching art in a way inspired by the Reggio Emilia schools to be incredibly fulfilling and creative for me. This is my art practice too, just a different one. It’s working socially and it is deeply satisfying because I’m very social and I love children.  Because of my teaching background I can work with almost any medium. I do ceramics, printmaking, silkscreening, painting, drawing, installation, new genre, everything. I enjoy being such a versatile creature.

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