Laolu

Laolu

 

Laolu was born and raised in Ilorin, Nigeria to Yoruba parents, which is what made his art what it is. Based in Brooklyn, Laolu is a visual artist, musician, human rights lawyer and activist. His mottos is: “Everything is my Canvas” and he truly takes it to heart. Laolu puts his mark on everything from canvas, to shoes, to walls and buildings, to clothing and even the body with his Sacred Art of the Ori.

To learn more about Laolu, click here.

Camila Falquez

CamilaFalquez

Camila Falquez was born in Mexico City, raised in Barcelona, and now splits her time between New York City and Barcelona. Camila, a former ballet dancer, turned to photography as her method of communication. The above images are from her work titled Humanidad aqui arriba. 

To learn more about Camila, click here.

Jude Jelfs

jude-jelfs

 

 

Jude Jelfs is a ceramicist based in Gloucestershire, England.  Her work is mainly figurative in earthenware, porcelain, and stoneware with some soda-fired pieces. Jelfs also makes figurative sculpture in bronze.  Together with her husband, ceramics artist John Jelfs, they run a shared studio and gallery space called the Cotswold Pottery.

To see more of her work, click here.

Tamara Orjola

tamara

Artist Tamara Orjola grew up in Latvia and attended the Design Academy in Eindhoven, NL.

Her series “Forest Wool” explores constructive uses for the pine needles left over from the European timber industry.  With standard manufacturing techniques – crushing, soaking, steaming, carding, binding and pressing – they can be transformed into textiles, composites and paper, extracting essential oil and dye in the process. An elegant series of stools and carpets made of nothing but pine needles, shows that this ecological material also has a high-quality look and feel to it.

The carafes from her series “8/9/89″ are designed to be easily useable by individuals with osteoporosis or arthritis, while remaining aesthetically elegant.

“Inbetween” is a tea set which consists of 5 layers. Each layer has a different shape and function but they all belong to the same ritual and can be reunited together in one composition.  It’s form was inspired by the onion, who’s innermost layer is an entirely different shape than the outermost, yet all fit together seamlessly.

To see more of her work, click here.

Stephanie Hare

stephaniehare

“A fibrous alchemist of sorts, Stephanie Hare is a papermaker exploring the techniques and nuances of the Kozo fiber, a bark harvested from the Paper Mulberry tree. [...] She is currently creating a collection of paper products focused on the contrasting unique tones of bleached whites and dark pigmented shades of blue. [... ] Entirely by hand, the fibers undergo a transformation of reverence. They are cooked, cleaned, and laid in the snow to bleach naturally in the winter sun, or pigmented to create rich hues of color. The fibers are beaten by hand and suspended in a vat filled with water, then put into motion with a swirl of the hand. Often, specks of silver or gold leaf, or wisps of small feathers are churned into the mix, as the vat morphs into a new kinetic composition. A dip of the mould and deckle below the surface swiftly collects a sheet of pulp as the water shimmies back into the vat. The sheet is then pressed and transferred to glass to dry.  Illuminated by the sunlight, the unique formations of the long Kozo fibers are brought to life, suspended in motion.  Handmade paper illuminated.”

All images and text from Stephanie Hare.

Allison Honeycutt

AllisonHoneycutt

Allison Honeycutt is a fine artist and art director based in Los Angeles, California. Allison works in a variety of media most notably works on paper, fiber sculpture and installation. In her art she honors the beauty of awkwardness, tactility, and humor above all. The work shown above is from her ‘Flesh Suit’ installation.

To see more of Allison’s work, click here.

Zoë Buckman

ZoeBuckman

 

Zoë Buckman is a multi-disciplinary artist working in sculpture, installation, and photography, exploring themes of Feminism, mortality, and equality. These images are from her exhibition, Every Curve, shown at Papillion Art in L.A. in 2016. Every Curve explores the contradictory and complimentary influences of Feminism and Hip-Hop in her upbringing.

To see more of Zoë’s work, click here.

Now Featuring Sofie Ramos

Sofie Ramos makes jubilant, aggressive paintings that stray off walls and across rooms. Bright, disorienting and graphic, her work knowingly probes the fuzzy boundary between abstraction and decoration. 

Exclusive Print 1

Exclusive Print 1

Exclusive Print 2

Exclusive Print 2

Exclusive Print 3

Exclusive Print 3

Exclusive Print 4

Exclusive Print 4

Exclusive Print 5

Exclusive Print 5

MH: Can you talk about the history of your painting practice? I’m interested in how you reached to all-encompassing point your work’s at now.

SR: I was always very two-dimensionally minded in my making and so I gravitated toward painting and drawing classes in undergrad. However, I always felt very limited by the frame of the rectangle, and didn’t find the process of creating or finding a composition on this predetermined surface satisfying or enjoyable. I think having access to a studio was one of the key turning points in my artistic development because I was able to put up my two-dimensional work and see it all together. Very quickly, the overall layout of the studio became my main interest—the two-dimensional work serving as elements in the larger composition.

I had always been interested in interior decoration and particularly gifted in nesting in small spaces, and in the studio I was able to integrate this into my art practice to make for a much more exciting way of working. It was at this point that I really devoted myself to being an artist, that I fell in love with making art.

thank you painting, 2015

thank you painting, 2015

MH: What are your thoughts about decoration, adornment and art? This is something I’ve long thought about in my own work, and it’s probably an inevitable question for someone whose work engages with domestic spaces as installation sites, and is also engaged with abstraction, pattern and makes painting as a “surface treatment” an explicit part of their work.

SR: Decoration is a theme I constantly return to, not only because of my interest in interior decoration and lived spaces, but also because of abstract painting’s illicit relationship to this realm. In spite of Modernism’s exaltation of the spiritual qualities of abstraction, an abstract painting in a home becomes merely a decorative element of interior design. The tension between these quite opposing interpretations is very exciting for me. When does the spiritual or intellectual become superficial and decorative? Who draws the line and can something exists in both spheres? My thank you painting is the perfect illustration of my relationship to this topic.

I am not afraid of the idea of decoration and would argue that a lot of my work uses decorative elements, though in a knowing and sometimes ironic way.

pathways / in and out, 2017, installation at Johansson Projects, Oakland, CA

pathways / in and out, 2017, installation at Johansson Projects, Oakland, CA

pathways / in and out, 2017, installation at Johansson Projects, Oakland, CA

pathways / in and out, 2017, installation at Johansson Projects, Oakland, CA

MH: One thing I noticed while looking at your installations was the way your work amplifies the materiality (and 3D objecthood) of all painting, while also flattening architectural space. What are your thoughts about this process of expansion and retraction that happens simultaneously?

SR: My installations really come from the realm of painting—imagining the space as a flat composition, which is best exemplified in my videos that literally flatten the space into an image on the screen. While paintings themselves become very sculptural, the overall environment flattens out into a giant painting. The idea is that paintings are like any other object in the space—an element within a larger composition. They are not really meant to exist on their own, but as part of the space that contains them.

pathways / in and out, 2017, installation at Johansson Projects, Oakland, CA

pathways / in and out, 2017, installation at Johansson Projects, Oakland, CA

pathways / in and out, 2017, installation at Johansson Projects, Oakland, CA

pathways / in and out, 2017, installation at Johansson Projects, Oakland, CA

MH: Can you talk about your color palette? I’m always curious how artists arrive at the color families and color relationships that happen in their work.

SR: I try to choose the brightest colors possible to achieve the most intense visual response possible from the viewer not only to seduce but also to refer to an imaginary space or hallucination—something separate from the real world. The saturated hues are also connected to the exaggerated colors one experiences in recalling memories. I use the entire spectrum, selecting the most vibrant from each color family.

sanctuary/prison, 2016,  bedroom installation at the Growlery, San Francisco, CA

sanctuary/prison, 2016, bedroom installation at the Growlery, San Francisco, CA

It is significant that I don’t usually mix my own colors, but use found colors of house paint because everything is part of a larger installation that always involves painting on the walls. House paint’s connection to interior spaces is more relevant to my work than the art historical connection to acrylic or oil artist colors. As for the color combinations and relationships, these are mostly evolving and experimental, coming from observed combinations and the constant rearrangement of objects and materials in the studio. There are combinations that I return to often, but I try to be dynamic in my use of color.

studio at Guerrero Gallery, San Francisco, CA

studio at Guerrero Gallery, San Francisco, CA

MH: How does your practice of making self-contained paintings and works on paper fit into the bigger scope of your practice? Do the smaller pieces serve as studies, experiments, works finished and self contained on their own terms?
SR: The paintings are different than the works on paper because they aren’t explicitly self-contained, often existing as elements in installations. The works on paper are more like studies or experiments and do not usually get to be in installations. Paintings are often experiments with materials and techniques, but because they have distinct objectness, they can act in and relate to a space in ways that a small work on paper cannot. They are able to become characters.

The collage/drawing practice is a preliminary and supplementary exercise that informs and inspires the larger installations. The immediacy of working on a small scale with paper simplifies and accelerates my improvisational and inconclusive process of accumulating, arranging, reusing and reworking layers of visual material.

The works on paper are more closely related to the installations that the paintings. However, I am working toward new pieces that read as autonomous paintings that might not exist in installations.

studio at Guerrero Gallery, San Francisco, CA

studio at Guerrero Gallery, San Francisco, CA

studio at Guerrero Gallery, San Francisco, CA

studio at Guerrero Gallery, San Francisco, CA

MH: What are you working on now, or planning while you await the right space for an installation? Any painting issues or challenges you’re starting to work through in studio?

SR: I just did a big installation in a group show in Belgium and the next installation is at the Fort Mason guard house in June. In the meantime, I’m trying to play around in the studio and make a body of paintings. It’s kind of nice to get back into the studio without a huge project taking up all my time. I think the major goal for the paintings is to make a body of autonomous works that can exist outside a larger installation.

MH: Whose work are you looking at these days with excitement, and who are some long term influences?

SR: I am excited about Dr. Suess right now, but also artists Joyce Pensato, Amy Sillman and Elizabeth Murray. My long-term influences include icons Jessica Stockholder and Katharina Grosse, as well as younger generation artists Rachel Harrison, Sarah Cain and Katie Bell.

painted into a corner, 2016, installation at Guerrero Gallery, San Francisco, CA

painted into a corner, 2016, installation at Guerrero Gallery, San Francisco, CA

Hattern

hatten

 

Hattern is an up-cycling design collective based in Seoul, South Korea.  They aim to create practical and beautiful products by extracting pattern from waste.  To see more from Hattern, click here.

Christien Meindertsma

christienmeindertsma_image

“Christien Meindertsma explores the life of products and raw materials. For her first book, Checked Baggage (2004), Christien purchased a container filled with a week’s worth of objects confiscated at security checkpoints in Schiphol Airport after 9/11. She meticulously categorized all 3267 items and photographed them on a white seamless background. Christien’s second book, PIG 05049 (2007), is an extensive collection of photographic images that documents an astounding array of products that different parts of an anonymous pig called 05049 could support. With this book, Christien reveals lines that link raw materials with producers, products and consumers that have become so invisible in an increasingly globalized world.

With her designs Christien Meindertsma aims to regain understanding of processes that have become so distant in industrialization. Her work has been exhibited in MOMA (New York), The V&A (London) and the Cooper Hewitt Design museum (New York). For her book PIG 05049 she won three Dutch Design Awards (2008) as well as an Index award (2009). For the Flax Chair she won the Dutch design award and Future Award ( 2016) Christien graduated from the Eindhoven Design Academy in 2003.”

Text and images from christienmeindertsma.com