<![CDATA[Neatorama]]>http://uploads.neatorama.com/vosa/theme/art/media/logo.gifNeatoramahttp://www.neatorama.com/<![CDATA[Josean Rivera]]>Commissions are available at times by contacting me at joseanriverafineart@gmail.com
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Dilophosaurus- oil marker on canvas 2011
]]>Commissions are available at times by contacting me at joseanriverafineart@gmail.com
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Dilophosaurus- oil marker on canvas 2011

Ceratopsian- graphite 2009
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Cool Story Bro- mixed media on canvas 2011
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Girl 15- mixed media on canvas 2009
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Girl 23- mixed media on canvas 2010
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Luchador De la Fey- graphite and watercolor 2009
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Raptor Icon- graphite and watercolor 2012
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Aeneam Pugnam- mixed media on canvas panel 2012
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Skullio- spray paint on canvas 2010
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Edmontoswimmer- graphite 2009
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Xray - Mixed media triptych on canvas 2011
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Untitled Muse- graphite and watercolor 2008
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See more of Rivera's work at
]]><![CDATA[Randy Bishop]]>
My name is Randy Bishop. I'm currently still in school studying illustration. I would REALLY like to work in the entertainment industry as a character designer for animated films. I would also really like creating book covers. That would be fantastic!

I usually start an illustration with a drawing which I scan in and then paint digitally. I've tried several different methods for creating art, but this is my favorite. I'm still in school, but I'm definitely on the lookout for ANY potential jobs or clients.

You can visit my blog at randybishopart.blogspot.com or email me at rdalebishop@gmail.com for any information.

Thanks for looking and I hope you enjoy my stuff!


Vincent


]]>
My name is Randy Bishop. I'm currently still in school studying illustration. I would REALLY like to work in the entertainment industry as a character designer for animated films. I would also really like creating book covers. That would be fantastic!

I usually start an illustration with a drawing which I scan in and then paint digitally. I've tried several different methods for creating art, but this is my favorite. I'm still in school, but I'm definitely on the lookout for ANY potential jobs or clients.

You can visit my blog at randybishopart.blogspot.com or email me at rdalebishop@gmail.com for any information.

Thanks for looking and I hope you enjoy my stuff!


Vincent





TMNT





Pride and Prejudice





Norton and the Minotaur





Hellboy in Meso America





Happy Halloween!





Erasmus





Rainne the Dragon Slayer





Aurech's Campfire





Zombie]]><![CDATA[Sam Branton]]>
My name is Sam Branton. I graduated from the Norwich School of Art in 2007 and have since been a working artist based in Oxford. I’m really interested in the relation between traditional drawing styles throughout art history and contemporary childish cartoons such as Ren and Stimpy and Anime. My work often combines these two leaving quite striking images. I think there’s a nice contrast between the sophisticated smartly attired figures standing proudly amongst these creatures which look sweet and innocent at first but on closer inspection can appear rather menacing and perverted.

Since leaving Art School I have been lucky enough to be included in some exciting shows, showing work in London, LA and Stockholm.

Here’s a collection of different pieces, I hope you enjoy them.

So, what would you little maniacs like to do first?

]]>
My name is Sam Branton. I graduated from the Norwich School of Art in 2007 and have since been a working artist based in Oxford. I’m really interested in the relation between traditional drawing styles throughout art history and contemporary childish cartoons such as Ren and Stimpy and Anime. My work often combines these two leaving quite striking images. I think there’s a nice contrast between the sophisticated smartly attired figures standing proudly amongst these creatures which look sweet and innocent at first but on closer inspection can appear rather menacing and perverted.

Since leaving Art School I have been lucky enough to be included in some exciting shows, showing work in London, LA and Stockholm.

Here’s a collection of different pieces, I hope you enjoy them.

So, what would you little maniacs like to do first?

Of all the queens that ever ruled, I choose you.

I feel funky!

hubba-bubba

Blush

But I was born too late.

Three robbers in a cave

Some people call me friend

Childs play

Heroes in the seaweed

If you would like to see more check out my website.

You can also contact me at sam.branton@hotmail.com]]><![CDATA[Julia Feld]]>
Some people give me grief about destroying old books, so I think it is important to make clear that I love books, too!  Because of this, I only use books that are no longer appreciated  for their content, and I never carve rare or new books.  I've deliberately put down books (that would have made lovely carvings) if I think someone is likely to appreciate them intact.  My favorite subjects are reference books that are several editions out of date, rescued from garage sales, free giveaways, and second-hand shops.  Although most people aren't interested in these old books for the information they contain, carving them gives them a second chance to be of value.  My weapons of choice are exacto knives, rotary cutters, tweezers, rulers, pliers, files, custom cut panes of glass, and lots of glue.

All About House Plants

]]>
Some people give me grief about destroying old books, so I think it is important to make clear that I love books, too!  Because of this, I only use books that are no longer appreciated  for their content, and I never carve rare or new books.  I've deliberately put down books (that would have made lovely carvings) if I think someone is likely to appreciate them intact.  My favorite subjects are reference books that are several editions out of date, rescued from garage sales, free giveaways, and second-hand shops.  Although most people aren't interested in these old books for the information they contain, carving them gives them a second chance to be of value.  My weapons of choice are exacto knives, rotary cutters, tweezers, rulers, pliers, files, custom cut panes of glass, and lots of glue.

All About House Plants


All About House Plants (detail)


Butterfly Specimen Box


Butterfly Specimen Box (detail)


Practical Standard Dictionary


Practical Standard Dictionary (detail)


Topographical Book


Topographical Book (detail)


Topographical Book (detail)


Webster's Seventh New Collegiate Dictionary


Webster's Seventh New Collegiate Dictionary (detail)


For more examples of my work, head on over to Hokey Stokes! or check out works available for purchase at my Etsy store.  If you have a book that you might like re-purposed, please get in touch with me at hokeystokes@gmail.com and we can discuss custom projects.]]><![CDATA[Megan Coyle]]>
I studied painting and creative writing in college and both areas have influenced the direction of my work. My studies in writing have made me become a storyteller with images where I illustrate narrative scenes from everyday life. As a painter, I liked using distinct brushstrokes and bold colors. With my collages, I try to recreate the look and feel of a painting through the manipulation of paper and magazine strips. The way I cut and layer paper often looks like the distinct brushstrokes I once used in painting.

]]>
I studied painting and creative writing in college and both areas have influenced the direction of my work. My studies in writing have made me become a storyteller with images where I illustrate narrative scenes from everyday life. As a painter, I liked using distinct brushstrokes and bold colors. With my collages, I try to recreate the look and feel of a painting through the manipulation of paper and magazine strips. The way I cut and layer paper often looks like the distinct brushstrokes I once used in painting.



Benjamin
This portrait gives you an idea of what my up-close portrait pieces look like - I'm more focused on the sitter and his emotions than I am with the environment around him.



Commuters
I moved a little more towards abstraction here - simplifying the figures while defining the environment. Typically I hone in on all the nitty gritty detail of a person's face.



Sightseers
In this scene a woman is pointing to something we can't see. It's like we're eavesdropping on a conversation where we don't know the entire story or context.



Leisure Day
I think the back of a person can be just as interesting as the front. The way people sit and pose can often tell you a lot about what's going on in a given moment.



Snorkeling
Water is a reoccurring element in my work. I'm amazed by how colorful water can be when light reflects on the surface a certain way.



Two's a Crowd
I'm drawn to pairs and individuals. From time to time I create collages of larger groups of people, but I like the intimacy of images depicting couples or individuals lost in their own world.



Bar and Bakery
Usually there's more emphasis on the figures I'm collaging rather than the environment around them. Here's an example of when I was doing the opposite of that.



Afternoon Conversations
I'm often inspired by restaurants and cafes. I like the movement and colors found in these places. This is a theme that appears again and again in my  figurative work.



Bren
My collages capture moments in time - even if it's just a distinct facial expression.



Dinner for Two
The interaction between this couple suggests a story. Viewers can relate this setting to their own lives or something they've seen before.

Contact Megan Coyle

I do commission work - see my website for more info.

Email: meg@mcoyle.com]]><![CDATA[Michal Karmazon]]>
My artwork is about people. I love the human form, whether it's portraits or figures. I want to show the beauty of it, as well as convey certain messages. Until recently I've worked only with graphite and charcoal, but have recently switched to paints.


An illustration for a band out of Orange County, California.]]>
My artwork is about people. I love the human form, whether it's portraits or figures. I want to show the beauty of it, as well as convey certain messages. Until recently I've worked only with graphite and charcoal, but have recently switched to paints.


An illustration for a band out of Orange County, California.



"It is easier to see, evil as entity"
An evil form is raised up on pillars. Humans tend to anthropomorphize evil. I think the concept of the Devil is wrong, because it allows people to blame something else for the evil they do.


"Girls just wanna have fun"
Sometimes men seem to forget women are sexual beings too. A lot of women's pleasure comes from the emotional attachment, but there are times girls' lives where they simply want a good time, with no strings attached.

"High level of addiction"

The title comes from my saying, that love is just a name we give to a high level of addiction. And some men's addiction rivals the hardest drugs, eventually leading to their downfall, as symbolized by the skull the woman is standing on.

"Punk"
A piece I simply did for fun. The patterned background was very fun to do, because it put me in a trance. I think in every artist's life there's always the choice of either having fun with his work or changing the world with it.



"Look into my eyes"
People today interact in real life less and less. As a result, especially the young, don't have the same rules and customs as our forefathers did. One of those customs was eye contact, a very personal and intimate action. Here the figure compels you to look at the eyes - the point of highest contrast.



"Pleasure of leisure"
For a lot of people leisure seems to be almost a holy object. Thank God it's Friday is the most popular prayer across the western world. But too much of it ends in a silent grief. A person's life would be more fulfilling if their filled the leisure time with meaningful work.

Contact Michal Karmazon

I accept commissions for illustrations and portraits.
Write to me at michal@michalkarmazon.com.
See my artwork at www.michalkarmazon.com.
]]><![CDATA[Michele Banks]]>
I mainly work in watercolor. When people think of watercolor, they think of pretty flowers and peaceful landscapes. But watercolor’s clarity, transparency and ability to “bloom” or “bleed” make it a great choice for scientific effects also. When watercolor paint meets a wet surface, it forms gorgeous fractal patterns, like neurons or blood vessels. When I look at photos of cells under a microscope, I’m amazed by their resemblance to some of my paintings. I particularly love making pictures of cells in various stages of division, or mitosis – not only is it beautiful, but it’s really the foundation of life itself.

I’ve been selling my work though festivals and galleries in the DC area for eight years now.  I recently started selling online though Etsy.  My paintings are hanging in some very nice labs and university biology departments now, but if you want to buy some bacteria for the kitchen or bathroom, that makes me happy too.



1. Green Cell Telophase

]]>
I mainly work in watercolor. When people think of watercolor, they think of pretty flowers and peaceful landscapes. But watercolor’s clarity, transparency and ability to “bloom” or “bleed” make it a great choice for scientific effects also. When watercolor paint meets a wet surface, it forms gorgeous fractal patterns, like neurons or blood vessels. When I look at photos of cells under a microscope, I’m amazed by their resemblance to some of my paintings. I particularly love making pictures of cells in various stages of division, or mitosis – not only is it beautiful, but it’s really the foundation of life itself.

I’ve been selling my work though festivals and galleries in the DC area for eight years now.  I recently started selling online though Etsy.  My paintings are hanging in some very nice labs and university biology departments now, but if you want to buy some bacteria for the kitchen or bathroom, that makes me happy too.



1. Green Cell Telophase





2. Heart Attack 3


3. Bacteria 4


4. Under the Microscope 3




5. Blue-Green Cell Cycle 3




6. Cell Division Blue 1


7. Atrial Flutter


8. Blue Mitosis Anaphase


9. Cell Division 4


10. Cell Division 8

Contact Michele Banks

Website: Artologica at Etsy

I do commission work – I’m happy to do a custom heart rhythm from your ekg, or a particular virus.

Email:  miche@null.net]]><![CDATA[Nethery Engblom]]>
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Cats vs. Dogs

These two pages were a short story collaboration I made with my friend and fellow cartoonist, Greg Fenton. He wrote and I illustrated, this was definitely some of the most fun I've had working on a comic.



Manhattan is Elsewhere

Some colored panels for a comic book I'm illustrating called Manhattan is Elsewhere. The author, Wendy Lehmann has been working on her story for at least five years, and is very devoted to her book. It involves romance, super heroes, time travel, history and New York, what more could a young reader want?







Wandering Mind

Just a small sample of a short comic I made for my portfolio. Its 4 parts long, Wandering Mind is the first part which involves a little boy with an overactive imagination.







Catman

Here are a couple of prints from a book in progress of mine. It’s a children’s book about a man who wakes up one morning and thinks he is a cat.

Contact Nethery Engblom

Write me! I’m always looking for new and exciting work.

Email: NetheryE@gmail.com

Website: NetheryE.com]]><![CDATA[Bob Staake]]>. I'm the author and/or illustrator of over 50 books for kids
. I do work for The New Yorker, The Washington Post, The New York Times, MAD, TIME, MTV/Nickelodeon, Little Golden Books, Random House, Cartoon Network and Hallmark Cards
. I rarely pencil out an illustration before going straight to the final, color artwork
. I've designed, written and co-directed numerous episodes of Ren + Stimpy, Dexter's Laboratory, Powerpuff Girls and Samurai Jack
. I still create all my work using Photoshop 3.0

Things people don't know about me:
. I was busted for climbing the Lincoln Memorial
. ID magazine named my studio one of 'The 40 Most Amazing Design Offices' in the world
. I've written stand-up material for Jay Leno, Rodney Dangerfield and Joan Rivers
. I have one of the most extensive private collections of Heywood-Wakefield Mid-Century Modern furniture from the 40's and 50's
. I bake some pretty incredible double-fudge chocolate chip cookies



Scene from 'The Donut Chef' (2009, Random House and Golden Books)
Book reviewers always point out that my work has both a retro and contemporary feel. If I can have a lot of stuff going on in a scene, it keeps the book fresh the next time a kid (or parent) reads it.]]>. I'm the author and/or illustrator of over 50 books for kids
. I do work for The New Yorker, The Washington Post, The New York Times, MAD, TIME, MTV/Nickelodeon, Little Golden Books, Random House, Cartoon Network and Hallmark Cards
. I rarely pencil out an illustration before going straight to the final, color artwork
. I've designed, written and co-directed numerous episodes of Ren + Stimpy, Dexter's Laboratory, Powerpuff Girls and Samurai Jack
. I still create all my work using Photoshop 3.0

Things people don't know about me:
. I was busted for climbing the Lincoln Memorial
. ID magazine named my studio one of 'The 40 Most Amazing Design Offices' in the world
. I've written stand-up material for Jay Leno, Rodney Dangerfield and Joan Rivers
. I have one of the most extensive private collections of Heywood-Wakefield Mid-Century Modern furniture from the 40's and 50's
. I bake some pretty incredible double-fudge chocolate chip cookies



Scene from 'The Donut Chef' (2009, Random House and Golden Books)
Book reviewers always point out that my work has both a retro and contemporary feel. If I can have a lot of stuff going on in a scene, it keeps the book fresh the next time a kid (or parent) reads it.





The Transcontinental Welt (character study)
Most of my picture books begin with me envisioning a certain character, which I render, and then see if I can build a story around it. I'll bet that for every book I always have published, I write an additional 15 to 20 stories that I abandon for one reason or another.



Midnight Prom (Rejected cover idea for 'The New Yorker')
This is how I work when I submit a cover idea to the magazine. I try and give the magazine a solid idea of where I intend to go with color, composition and concept, but I may deviate from the sketch when going to final.



Read (poster designed to encourage reading by kids)
It's really a very simple image. I've always enjoyed drawing dinosaurs and the Empire State Building, so combining the two seemed to make perfect sense.



Reflection (The New Yorker - November 17, 2008)
My best-known cover for the magazine. The reflection in the water symbolizes the bars of slavery, leading up to Lincoln's Emancipation Proclamation, and finally culminating with the ubiquitous 'O' of the Obama presidential campaign. Prints of this cover continue to sell incredibly well - and two years after Obama's victory. I rarely do a hyper-realistic image like this, but when I need to do so to make a certain idea work, I won't hesitate to alter my style.



We Planted A Tree by Diane Muldrow (2010, Random House and Golden Books)
My picture books are noted for their endpapers, and while I typically create them using a geometric repeat design of some sort, for this book I thought it would be best to take a more abstract and colorful view of what appear to be candy-like lollipop trees.



Releasing The Vapor - 2008
This was actually a piece I did for BLAB (Fantagraphics), and while I like the image, I wound up doing something else for the anthology. I didn't sketch anything here first, just started playing with the shapes that I saw in my head -- and then laid them all down in the scene. I create all my work in Photoshop 3.0 using a mouse (I've never even tried a Wacom), and the older I get, the more I seem to be using dramatic lighting to really set a mood.



The Ships Arrive (scene from 'The Red Lemon', 2006 - Random House and Golden Books)
I probably have more fun when I get to use impossible angles, exaggerated lines and abstracted forms in a scene like this. If I can make all the elements sort of "lock" together visually like a jigsaw puzzle, it forces the reader's eye to always scan for new little graphic surprises.



Escape From The Museum ('Look! A Book!' 2011, Little Brown)
This is a scene from a very, very elaborate book of mine that comes out next Fall. You can't see it here, but there are all sorts of weird die-cuts on each page that reveal hidden surprises. When I work on a picture book, I also go to that little "inner child" in my head and try to create imagery that I would have found mesmerizing as a little boy growing up in Southern California in the 1960s.



FEZ (Poster Design - 2009)
I have always been inspired by european poster art of the Mid-20th Century, and this image proves it. It's one of the "faux-poster" images I create for non-existent products, just images I do for myself. I've been trying this year to create unique posters like this, and my fans just love purchasing them -- because they're honest and unique.



Deep Dish Pizza (personal piece, 2010)
I really like clean, graphic design, so when I need to make a simple statement or allusion to a metaphor, I try to keep things uncluttered. Here a simmering red body accentuates the slice of pizza, a restrained glow of lighting and shadows creating a stark aura.



And Sap For Our Syrup (scene from We Planted A Tree by Diane Muldrow - 2010 by Random House and Golden Books)
Composition is very important to me, and I always try to bring heightened visual drama into each book spread. The village buildings in background are god examples of the decorative elements that I incorporate into my scenes.



The Line Snakes (scene from 'The Donut Chef' - 2010 by Random House /
Golden Books)
I always try to mix up my characters graphically -- some fat, some skinny, some short, some tall -- because I think it makes things more interesting for kids. I also thing there's no reason why characters can't be black and white and red and green and blue.



Petzoopolis (poster that accompanies 'Pets Go Pop' - 2009, Little Brown)
I love graphic simplicity, but sometimes I need to get chaotic - like in this zoo poster. While this image appears small, the actual poster measures 4 feet by 2 feet, so I had plenty of real estate to work with -- and all sorts of goofy things hide among the animals and kids.



Interlocking Robots (BLAB, Fantagraphics 2009)
I love creating very meticulous, geometric images and have always been inspired by negative spaces. By using positive and negative space, this robotic optical illusion came to be.



99 Cats (poster, 2010)
I love cats, so will jump at any chance to draw 99 of them (I also did a version of 99 dogs) The posters are available to buy.

Contact Bob Staake

My website is BobStaake.com.

People can see videos of how I work by going here.

My Facebook page.]]><![CDATA[Hugh D'Andrade]]>• watching kids interact with my art
• hearing people laugh when they look at my art
• breaking all the rules of typography
• using my favorite colors in my work, every day
• breaking things down into big, simple shapes and patterns
• seeing people I don't know who have my art tattooed on their bodies
• cashing checks from happy clients and customers

Below are some examples of my work (you can see more on my website and buy prints and originals in my online shop).




I've done rock posters for my friends' bands.]]>• watching kids interact with my art
• hearing people laugh when they look at my art
• breaking all the rules of typography
• using my favorite colors in my work, every day
• breaking things down into big, simple shapes and patterns
• seeing people I don't know who have my art tattooed on their bodies
• cashing checks from happy clients and customers

Below are some examples of my work (you can see more on my website and buy prints and originals in my online shop).




I've done rock posters for my friends' bands.




As well as for more established names.






I also do book covers. Here's one I did for Penguin that will be out in a few months.



And another I did for Harper Collins (UK) — a funny book by my friend Linda Robertson.



I've had my work featured on the cover of Communication Arts.



I've designed tickets and posters for Burning Man.



I also do so-called "fine art". Here's an original that is for sale in my shop!
Thanks for looking and reading! You can follow me on Twitter or be my fan on Facebook if you'd like to keep in touch!
]]><![CDATA[id-iom]]>
We are id-iom, a South London gonzo design duo who are more than willing to take a punt at pretty much any design challenge! Determined never again to suffer under the yoke of an oppressive employer, this is our ongoing tale of two brothers who are going to take the world by storm or die trying! Hugo and the artist formerly known as Sholto, are both noisy and enthusiastic with a flair for creativity. Hugo's hands and feet however are proportionately too big for his body whilst Sholto's head is shaped like a peanut.

After finishing our respective universities and languishing in a number of dead end jobs it was decided it was time for something a bit different. Known for our mischievous take on pop culture, music & politics, our canvases and graffiti have adorned walls and sidewalks throughout London and Europe.

Never ones to follow trends, we try to work outside the conventional art world, engaging with real world issues in a provocative way. Our idiosyncratic approach is infused with rebellious edge and street-smart attitude - or at least we hope it is!

In order to introduce cognitive dissonance in non-believers all our designs have been carefully chosen and arranged to please believers and make them feel harmonious and confident whilst causing non-believers to become disorientated and mentally challenged. You have been warned.

Cheers
Sholto & Hugo
id-iom


Artist: id-iom
Title: Let it Ride
Media: Acrylic paint & paint pen
Size: 1m x 1m canvas set into table
The ‘Let It Ride’ table was perhaps one of my favourite commissions. It is named after an 80′s comedy featuring Richard Dreyfuss ( it only gets a 6.3 on IMDB but is well worth a watch!) Here is a link to our blog post about this piece that explains how it came into being.]]>
We are id-iom, a South London gonzo design duo who are more than willing to take a punt at pretty much any design challenge! Determined never again to suffer under the yoke of an oppressive employer, this is our ongoing tale of two brothers who are going to take the world by storm or die trying! Hugo and the artist formerly known as Sholto, are both noisy and enthusiastic with a flair for creativity. Hugo's hands and feet however are proportionately too big for his body whilst Sholto's head is shaped like a peanut.

After finishing our respective universities and languishing in a number of dead end jobs it was decided it was time for something a bit different. Known for our mischievous take on pop culture, music & politics, our canvases and graffiti have adorned walls and sidewalks throughout London and Europe.

Never ones to follow trends, we try to work outside the conventional art world, engaging with real world issues in a provocative way. Our idiosyncratic approach is infused with rebellious edge and street-smart attitude - or at least we hope it is!

In order to introduce cognitive dissonance in non-believers all our designs have been carefully chosen and arranged to please believers and make them feel harmonious and confident whilst causing non-believers to become disorientated and mentally challenged. You have been warned.

Cheers
Sholto & Hugo
id-iom


Artist: id-iom
Title: Let it Ride
Media: Acrylic paint & paint pen
Size: 1m x 1m canvas set into table
The ‘Let It Ride’ table was perhaps one of my favourite commissions. It is named after an 80′s comedy featuring Richard Dreyfuss ( it only gets a 6.3 on IMDB but is well worth a watch!) Here is a link to our blog post about this piece that explains how it came into being.





Artist: id-iom
Title: Kate Moss Cocaine
Media: Mixed media
Sometimes it's just too easy to mock troubled celebrities. As evidenced with our 'celebrity endorsed' product packaging. If id-iom did packaging this is what you could possibly expect. More (and larger) photos can be found on our Flickr page.


Artist: id-iom
Title: Careless Whisper Skunk Blend #3
Media: Mixed media
Sometimes it's just too easy to mock troubled celebrities. As evidenced with our 'celebrity endorsed' product packaging. If id-iom did packaging this is what you could possibly expect. More (and larger) photo's can be found on our Flickr page.


Artist: id-iom
Title: People I Like
Media: Screen print on high quality paper
Size: A2
I've worked in plenty of offices in my time and i think anyone who has done can probably sympathise with this piece...

A couple of YouTube videos of us in action:


(YouTube link)


(YouTube link)


Artist: id-iom
Title: I just wanna be
Media: Acrylic, ink, newspaper and paint pen
Size: A2
This was (and still is) our biggest piece to date at about 16 x 11ft. The piece was done on Chance Street in the east end of London. There is also a video of the proceedings on Youtube:


(YouTube link)



Final version of our UPfest piece - which was done by the river in Bristol in 2009.



We had a great time doing this piece at UPfest this year. The weather was lovely, the beer was flowing and it was good to catch up with people. A bit of an experimental approach to this one but I'd like to think it worked out well. We certainly managed to pull quite an imperious looking Siamese cat out of the bag... If only the fake CCTV camera kept moving i would have been happy. That'll teach me to buy cheap stuff on the internet...



Artist: id-iom
Title: The Internet Made Me Do It
Media: Hand cut stencils, spray paint & glitter
Size: 30 x 40cm



Artist: id-iom
Title: Office monkey
Media: Acrylic, spray paint and marker pen
Size: A2 paper
Another office related one but i'm sure that anyone who's had a lowly office job can testify it's just how you feel sometimes... I understand it's not a monkey but it does the trick...



Artist: id-iom
Title: Undercover Lover
Media: Hand-cut stencils and spray paint
Canvas size: 75 x 75 cm



Artist:  id-iom
Title:  99 problems
Media: Hand-cut stencils and spraypaint
Size: 60 x 60cm canvas
The name is the giveaway on this one. If you can’t work it out just let me know and I'll let you in on the secret...



Artist: id-iom
Title: Angry rabbits always attack first
Media: Ink, coffee, tea, ink, paint pen and bleach
Size: 42 x 54 cm



Artist: id-iom
Title: Pleasing her made him happy
Media: Marker pen, acrylic and spraypaint on A3 high quality artist paper



Artist: id-iom
Title: Lost in the system
Media: Spraypaint, watercolour, glitter, marker pen, acrylic, paint pen and bleach
Size: 60 x 60cm

Contact id-iom

Artists and purveyors of all manner of artistic creations - original artwork, stencils, graffiti, screenprints & limited editions. We are also available for commissions via our unique commission process which replaces the conventional brief with an artist’s questionnaire that inspires the picture. Please get in touch if interested and we can send you the questionnaire (or it can be downloaded from our website at id-iom under 'downloads').

We can be found online at various places but the following are our favourites:

This is id-iom

YouTube channel

id-iom website (not update nearly often enough as it can only be done by our webmonkey!)

If you have any questions, comments or just want to get something off your chest please send us an email at either hugo@id-iom.com or sholto@id-iom.com! We love emails! Go on, send us one!

]]><![CDATA[Teale Hatheway]]>


Victory – The Historic Bridges Over The Los Angeles
Ink, acrylic, gold leaf, copper leaf, chalk and grommets on canvas drop cloth. 9’x12’. 2010.

Victory – The Historic Bridges Over The Los Angeles is a cartographic representation of the Los Angeles River through Downtown looking North, including Griffith and Elysian Parks as well as the Silverlake Reservoir, with stylized elements of each historic bridge traversing the terrain. As an amalgamation of components of this remarkable collection of bridges, there is a puzzle-like quality to Victory, a non-literal landscape or an abstracted panoramic map of the Los Angeles basin, providing hints of locations, but leaving the answers un-spoken.
At twelve feet tall, this painting has presence. My attraction to searching for existing buildings or my own location on old, panoramic maps shifted during the process of working on Victory. Instead of leaning over a book and tracing a path with my finger, twelve feet of painting leans over me, enveloping me, and declaring my presence in every inch of the composition. Likewise, it is fascinating to watch people identify with particular parts of the work, thereby understanding a location within a larger map of related monuments, which are (from North to South):]]>


Victory – The Historic Bridges Over The Los Angeles
Ink, acrylic, gold leaf, copper leaf, chalk and grommets on canvas drop cloth. 9’x12’. 2010.

Victory – The Historic Bridges Over The Los Angeles is a cartographic representation of the Los Angeles River through Downtown looking North, including Griffith and Elysian Parks as well as the Silverlake Reservoir, with stylized elements of each historic bridge traversing the terrain. As an amalgamation of components of this remarkable collection of bridges, there is a puzzle-like quality to Victory, a non-literal landscape or an abstracted panoramic map of the Los Angeles basin, providing hints of locations, but leaving the answers un-spoken.
At twelve feet tall, this painting has presence. My attraction to searching for existing buildings or my own location on old, panoramic maps shifted during the process of working on Victory. Instead of leaning over a book and tracing a path with my finger, twelve feet of painting leans over me, enveloping me, and declaring my presence in every inch of the composition. Likewise, it is fascinating to watch people identify with particular parts of the work, thereby understanding a location within a larger map of related monuments, which are (from North to South):



Victory – Detail
Detail showing the contrast of materials and techniques

The Glendale Hyperion Viaduct (1927, 1152’) The Glendale Hyperion Viaduct was constructed to relieve traffic congestion between Glendale and Los Angeles. It is the most complex of the river bridges with multiple approaches, exits and levels. After its construction, the bridge was designated “Victory Memorial Bridge” in honor of the men who served in World War I.

The Fletcher Drive Bridge (1927, 469’) The Fletcher Drive Bridge was constructed as part of a grand boulevard plan for Northeast Los Angeles known as the “Great Fletcher Drive Improvement.” It is located in the Glendale Narrows which is the most central and longest stretch of natural habitat in the Los Angeles River.

The Riverside Drive Bridge - Figueroa (1927/1939, 451’, aka. Dayton Avenue Bridge) The original 1927 structure was damaged in flooding in 1937-8 and was mostly replaced by the current bridge, reflecting the upper deck aesthetic of the original, but supported from below by a metal truss. This bridge is a favorite of mine due to its contrasting elements or Beaux-Arts bridge design, Warren Truss construction and that ridiculous ninety degree turn in the middle of it. The Riverside Drive Bridge to Figueroa is slated for demolition and replacement in late 2010.

The North Broadway Viaduct (1911, 968’, originally The Buena Vista Viaduct) The Buena Vista Viaduct was the first of the monumental Beaux-Art bridges built over the Los Angeles as well as the first open-spandrel arched bridge in California. At the time of its opening it was also the longest and widest cement bridge in the state.

The North Spring Street Viaduct (1927, 682’) The North Spring Street Viaduct was built to relieve traffic congestion on the Buena Vista Viaduct and was designed to complete a sub-group (including The Buena Vista Viaduct and Main Street Bridge) of bridges unified through their classical theme. The Spring Street Viaduct is perhaps the most imminently endangered of all the historic bridges over the river as The Los Angeles Bureau of Engineering is currently fast-tracking a proposal which would eliminate the bridge’s Historic-Cultural Monument status and potentially demolish the bridge in order to add a bicycle lane and widen sidewalks. Passage of the BOE’s proposal would be a tragic precedent to set for the remainder of the river’s bridges.

The Main Street Bridge (1910, 280’) The shortest and most neglected of the historic bridges through downtown, The Main Street Bridge, is also the oldest, celebrating its centennial this year! The Main Street Bridge once sported a crisscrossed railing pattern and unusual light standards supporting cantilevered glass globes. What a marvelous birthday present it would be (for all of us) to see her adorned once again.

The Cesar Chavez Avenue Viaduct (1926, 1270’, originally The Macy Street Bridge) The Macy Street Bridge was designed in the Spanish Colonial Revival style to commemorate its location along El Camino Real, a road linking the California missions originating in San Bruno, Baja California Sur through San Diego to Sonoma, California. It is the most ornately embellished bridge through Downtown Los Angeles.

The First Street Viaduct (1929, 1300’) The First Street Viaduct was built in a neo-classical style that includes five pairs of ornamental pylons which house viewing balconies. The First Street Bridge is currently being restored, as well as widened in order to accommodate the Gold Line Eastside Light Rail Extension, slated to be completed in April 2011.The Fourth Street Viaduct (1931, 1890’) The Fourth Street Viaduct is the only bridge over the Los Angeles exhibiting Gothic design elements. It is a long span, forking on the Western side and is (debatably) the iconic bridge of the Los Angeles Arts District.

The Sixth Street Viaduct (1932, 3546’) At two thirds of a mile long, the Sixth Street Viaduct is the longest, as well as youngest of the Los Angeles River bridges. With its pair of sweeping steel arches and unique Classical Moderne design, it is considered by many to be the Crown Jewel of the bridge collection. The future of this remarkable structure looks bleak. Afflicted with alkali-silica reaction (ASR), a chemical reaction which affects the structural integrity of cement, the bridge structure has been substantially weakened. The Bureau of Engineering is pushing for an expedited and thorough bridge replacement. Many members of the community are hoping for alternative options.

The Seventh Street Viaduct (1910/1927, 1530’) At first glance, the Seventh Street Viaduct appears to be a double-decker bridge. On closer inspection, one discovers that an original 1910 street car bridge supports a 1927 addition that was constructed to carry automobile traffic over the grade level train tracks. The interior of the bridge is not accessible by vehicle.

The Olympic Boulevard Viaduct (1925, 1420’, originally 9th Street Viaduct) The 9th Street Viaduct was re-named in honor of the 1932 Olympics, held in Los Angeles. It was the first span to be completed under Los Angele’s bridge replacement push in mid 20s and is stylistically more organic and delicate than subsequent bridge structures. The ornamental pylons which support the lamp posts protrude past the edges of the deck, giving the bridge a rhythmically patterned silhouette.

The Washington Boulevard Bridge (1930, 312’) The most notable features of the Washington Boulevard Bridge are the terra cotta friezes which adorn two pairs of monumental pylons at the entrances to the bridge. These bas relief panels depict engineers, laborers and equipment operators entrenched in the art of bridge design and construction.


The Los Angeles through Downtown – Triptych
Ink, acrylic, gold leaf, bleach on singed linen. 8” x10” each.


The Golden Gate Bridge
Ink, acrylic, copper leaf, bleach on singed linen. 26” x 52”.
The Golden Gate Bridge (1937, 1.7 miles) At the time of its opening, the Art Deco style Golden Gate Bridge was the longest suspension bridge with the tallest suspension towers in the world. The deck of the bridge is suspended from two cables made of 80,000 miles of wire, at a height of 220 feet above the high water mark. Painting the bridge International Orange, a color chosen to complement its environment as well as increase its visibility in fog, upwards of thirty staff painters work continuously to abate corrosion of the all steel edifice. One of the most iconic structures in the United States, the WPA era Golden Gate Bridge was declared one of the modern Wonders of the World by the American Society of Civil Engineers.


The Sixth Street Viaduct
Ink, acrylic, gold leaf, bleach on singed linen. 24” x 48”.

The Fourth Street Viaduct
Ink, acrylic, gold leaf, bleach on singed linen. 15” x 45”.

Light On The Olympic Boulevard Viaduct
Ink, acrylic, gold leaf, bleach on singed linen. 15” x 45”.


The Athenaeum
Ink, acrylic, bleach, gold leaf on singed linen. 36” x 48”. 2008.
Envisioned in the 1920’s by George Ellery Hale and conceptually modeled after The Athenaeum of London (a club whose members included distinguished individuals known for their scientific, literary and artistic eminence as well as men recognized as patrons of the afore mentioned pursuits), The Athenaeum at Caltech was designed by Gordon Kaufmann to provide an environment where faculty, students and associates could exchange intellectual, cultural, and social ideas. The first formal dinner was held in February 1931. Three Nobel Prize winners, Albert Einstein, Robert A. Millikan, and A. A. Michelson, attended that dinner. Today, exclusive membership is available to associates of Caltech, the Jet Propulsion Laboratory, the Huntington Library and Art Gallery, and the Palomar Observatory.


Paradox Iron
Acrylic, copper leaf, bleach on singed linen. 36” x 48”.
Southern California Edison, Electric Power Station #3 was built in 1902 by John Parkinson and was originally part of the Edison Electric Company.  In 1992, the building was registered as Historic Cultural Los Angeles City Landmark #388 and currently serves as the iconic structure of the Brewery Arts Complex as well as a location for film and television. The frequently photographed Paradox Iron facade is a remnant from the 1994 film “Color of Night.”

The Fine Arts Building Diptych
Ink, acrylic, bleach, metal leaf on singed linen. 15” x 30” each.
Originally constructed for artist studios, artisan workshops and dealer showrooms, The Fine Arts Building was designed by Albert R. Walker and Percy A. Eisen and completed in 1926. The ornate, Romanesque Revival facade is embellished with architectural detailing including two enormous figures representing Architecture and Sculpture, created and designed by Burt Johnson, which recline at the second and third levels. The interior art works include display cases for art and Batchelder tile on arches, columns, and the shallow pool in the center of the lobby. Figures representing various fine and decorative arts kneel atop interior columns, and were designed by Johnson, but sculpted by Kathleen B. Ingels under the supervision of Ernest Batchelder. Sold four years after its completion, the Fine Arts Building has never fully realized its intended purpose of becoming a cultural mecca for Los Angeles.

Contact Teale Hatheway

Please contact me for studio visits, commission inquiries and mailing list inclusions through my web site.]]><![CDATA[Lisa Evans]]>Alongside my commercial work I spend a lot of time working on personal projects. At the moment I'm learning 3D modelling in Autodesk Maya and Mudbox, which is a slow process as I'm easily distracted by the familiar world of 2D. I've also begun playing around in Game Maker, a mostly coding-free tool for creating computer games. I'm enjoying making my own games, as there's enormous appeal to creating an interactive world for my characters to live in :)

I'm inspired by science, technology and space exploration and I'm hoping at some point this will manifest in my work. That hasn't really happened yet! One of my goals is to find a way to communicate science through an emotional narrative, perhaps in a comic or game. That would be very satisfying!


A Bear For Lain
I was inspired by the anime show Serial Experiments Lain, and wanted to create a companion for Lain as she's very isolated within the show.

]]>Alongside my commercial work I spend a lot of time working on personal projects. At the moment I'm learning 3D modelling in Autodesk Maya and Mudbox, which is a slow process as I'm easily distracted by the familiar world of 2D. I've also begun playing around in Game Maker, a mostly coding-free tool for creating computer games. I'm enjoying making my own games, as there's enormous appeal to creating an interactive world for my characters to live in :)

I'm inspired by science, technology and space exploration and I'm hoping at some point this will manifest in my work. That hasn't really happened yet! One of my goals is to find a way to communicate science through an emotional narrative, perhaps in a comic or game. That would be very satisfying!


A Bear For Lain
I was inspired by the anime show Serial Experiments Lain, and wanted to create a companion for Lain as she's very isolated within the show.



Astral Plane
My partner and I created a small comic about two children learning to navigate their dreams. They travel aboard a strange vessel called an Astral Plane.



Bellamy And The Birds
It's about a disarming armless cat called Bellamy.



Someone Has To Water The Plants
A detail from an image called Moomin Demons and UFOs, in which aliens are nurturing and supportive. In an ideal universe anyway.



Reindeer Comic
I was listening to the Knife and in particular to a song called Reindeer. It inspired me to create a Little Red Riding Hood sequence.



Panda in the Brain
I'm not religious, but faith, hope and idealism are valuable qualities to me. In this picture I was trying to show how these qualities can help with depression.


Ginger and Stealth
Ginger is a three-legged bunny and Stealth is a half eaten ginger bread man. They were originally smudging the tree, but their feathers and sage turned into lolli-pops for the final image.



Star Belly Under My Bed
I guess this one speaks for itself.



Flying With Star Belly
And this one.



The Keepers
Wee Ted and Star Belly are Keepers charged with looking after two children. Sometimes they hang out in trees.


Guinan and her Tarcassian Razor Beast

Inspired by Guinan from Star Trek TNG. As a little girl Guinan had an imaginary friend called a Tarcassian Razor Beast. He had golden eyes and dark brown fur.


Contact Lisa Evans

Website: Lisa Evans

Email: firefluff@gmail.com

Twitter: @firefluff

]]><![CDATA[Julia Wolfson]]>
I’ve been doing printmaking for about ten years, mostly woodcut and linocut with some silkscreen and lithography in between. I am largely self-taught, with a few courses in printmaking and animation completed at the School of the Museum of Fine Arts. I also create comics and embroidered drawings. My work has been described as narrative, and I like to explore topics of connectedness, instability and personal landscapes, always with a sense of humor. I love to work with high contrast, black and white, and flat imagery. My inspirations are very internal: dreams, visions and stream-of-consciousness doodles. I also have a bit of an obsession with kitchenware.



1. Kitchen Spread (green). This silkscreen print is from a series of textile-inspired pattern prints, in which I explore slicing up images and putting them on repeat. Bon appetit!]]>
I’ve been doing printmaking for about ten years, mostly woodcut and linocut with some silkscreen and lithography in between. I am largely self-taught, with a few courses in printmaking and animation completed at the School of the Museum of Fine Arts. I also create comics and embroidered drawings. My work has been described as narrative, and I like to explore topics of connectedness, instability and personal landscapes, always with a sense of humor. I love to work with high contrast, black and white, and flat imagery. My inspirations are very internal: dreams, visions and stream-of-consciousness doodles. I also have a bit of an obsession with kitchenware.



1. Kitchen Spread (green). This silkscreen print is from a series of textile-inspired pattern prints, in which I explore slicing up images and putting them on repeat. Bon appetit!



2. (Kitchen Spread detail)



3. Sprout. This woodcut print is from the same textile-inspired series. Birth, curiosity, a new world sprouting from the dark.



4. Routine (Fear on the Horizon). From an embroidered series of fears manifested as awkward characters. Something has cracked the ground on which she stands, as she finds herself caught in her daily routine.



5. Three of Swords. An embroidered piece from my Tarot series, an ongoing project in which I replace the four elements with mundane objects. Here, swords become forks.



6. Four of Cups. A linocut print from my Tarot series. Here, cups become beer bottles. The meaning of the card, according to my 1968 Rider-Waite deck: Weariness, aversion, imaginary vexations, as if the wine of this world had caused satiety only; another wine, as if a fairy gift, is now offered the wastrel, but he sees no consolation therein. This card loves to pop up in my personal readings. Hmm.



7. Table in Red. This painting came to me in a catalog-inspired frenzy.


(YouTube link)


8. Computed. A mix of digital film, stop action animation and pixilation (a type of stop action in which people are used as puppets).  Wait for it... wait for it...



9. Girl, 24. From a series of portraits drawn in Paris.



10. Lactaid Lady. A true story! This is just one of the many adventures I had while working at a popular ice cream shop in the Boston area.



11. Poem for Spring. A self-portrait done in a moment of big transitions, unclear motives and fuzzy vision.

Contact Julia Wolfson

I do indeed accept commissions!

Email:  julia.wolfson@gmail.com

Website: Julia Wolfson

]]><![CDATA[Byung Kim]]>
I love using the eye as my main motif in my work. It is easily recognized and unmistakable. It can be shown in a simple form but still have such a strong impact.

I have not named most of my prints. I see them more as a continued development and experimentation using the same theme. The prints are assigned a number to represent the order in which they have created.

]]>
I love using the eye as my main motif in my work. It is easily recognized and unmistakable. It can be shown in a simple form but still have such a strong impact.

I have not named most of my prints. I see them more as a continued development and experimentation using the same theme. The prints are assigned a number to represent the order in which they have created.





001: This is the first silkscreen print I have done. The inspiration for this print came from an experience of being in a cave. The shape of the eyes are created by formations that loosely resembles stalagmite and stalactites. The eyes also represents that sense we sometimes experience of somebody watching you even when you are alone.





002: Print 002 was in many ways the opposite of print 001. Unlike the print 001, which had subdued colors print 002 has bright bold colors. Unlike print 001's dark receding in to the dark vibe, print 002 feels more like an explosion of shapes coming out.





003: In print 003 I started exploring patterns. Unlike the previous prints which stood out as objects, print 003 has the visual feel of a continuous pattern that can be continued indefinitely.





004: In print 004 I started experimenting with the symbol of the eye. The shape of the eye stayed the same but I added a new element. I added the tear as part of the eye. I simplified the design by creating the tear as a part of the iris.





005: In print 005 I started experimenting in adding other elements to compliment the eye. My initial inspiration was the Eye of Horus, an Egyptian symbol that was believed to protect and bestow wisdom and prosperity to the owner.





006: In print 006 I experimented with scale and implied form. The shape created by the eyes follows the same curve.





008: Is a design I created to raise awareness and funds for the Gulf Coast Oil Spill.

Contact Byung Kim

Website: Byung Ink

Email: byungink@gmail.com

Phone: (949) 616-9276]]><![CDATA[Laura Barnard]]>
I've worked on everything from wallpapers for the big dudes like HP to flyers for local arts collectives, and loved working on all of them. There's a few things in the pipeline at the moment but I'm always on the lookout for new and exciting projects.

I use both digital and analogue methods, so some are drawn with pen and ink (and yes, I do get through several pens on the big cityscapes - there's a certain amount of satisfaction in 'finishing a pen') and some I draw straight onto the computer, and some are a mixture of both.

]]>
I've worked on everything from wallpapers for the big dudes like HP to flyers for local arts collectives, and loved working on all of them. There's a few things in the pipeline at the moment but I'm always on the lookout for new and exciting projects.

I use both digital and analogue methods, so some are drawn with pen and ink (and yes, I do get through several pens on the big cityscapes - there's a certain amount of satisfaction in 'finishing a pen') and some I draw straight onto the computer, and some are a mixture of both.








1. In The Big City

Massive detailed cityscape, based on the view over hilly Bristol. Originally created as a self-promotional piece, but went on to be used in a publication about housing development and sold as a print.









2. HP Artist Wallpaper Series

I was proper delighted to be asked to design a set of desktop wallpapers for HP to be shipped with their 2010 range of laptops, and was even more delighted when I discovered I was in splendid and esteemed company with three other great illustrators: Alex Eben Meyer, Julie West and Amy Ruppel.

You can download the wallpapers here.







3. Urban Soundscapes CD cover

Illustration for album cover for Gerry Cott's new album Urban Soundscapes. The album's tracks are each based on a different city or part of the world, so the illustration incorporates everything from rural Ireland to the heights of Tokyo.





4. Typographic Experiments

Cities & typography? Hooray!









5. High Speed City Link

Created whilst pondering about the new high-speed rail link being talked about in the UK and incorporates a cunning and plausible strategy about where we might be able to put in some extra railway lines and how to make the trains go faster. This is by using lots of downhill bits for speed, mainly, not to mention having cities on handy little nuggets of land.

This is also for sale as a giant beast of a print.

Contact Laura Barnard

Website

Twitter

Flickr

Behance Network Gallery
]]><![CDATA[Rob Bridges]]>
I currently live with my wife and daughter in beautiful Lexington, Kentucky. Other than illustration I like to spend my time running. I have a running stroller that my daughter loves. We get to spend time together as well as getting a bit of exercise, and you can’t beat that. I am hoping to eventually break into the young adult and children’s book illustrating. (Note to publishers and agents: …I’m available.) I hope people can relate to my work and enjoy it as much as I enjoy creating my art. Feel free to drop me a line and say hi.



1. Trip to the Moon (working title) – Gouache on board
This is a panel from a children’s book I am currently working on. My plans are to self publish, sell them through my shop and use as a portfolio piece to send to publishing houses.]]>
I currently live with my wife and daughter in beautiful Lexington, Kentucky. Other than illustration I like to spend my time running. I have a running stroller that my daughter loves. We get to spend time together as well as getting a bit of exercise, and you can’t beat that. I am hoping to eventually break into the young adult and children’s book illustrating. (Note to publishers and agents: …I’m available.) I hope people can relate to my work and enjoy it as much as I enjoy creating my art. Feel free to drop me a line and say hi.



1. Trip to the Moon (working title) – Gouache on board
This is a panel from a children’s book I am currently working on. My plans are to self publish, sell them through my shop and use as a portfolio piece to send to publishing houses.



2. The Black Rabbit of Inle – Gouache (opaque watercolor), on paper w/ digital enhancements
I had just finished reading the novel Watership Down by Richard Adams. The idea of a rabbit warren having a society and culture as well as spiritual beliefs intrigued me. This would be the representation of the grim reaper in their folklore.



3. Pieter Rabbit and the Mechanical Unlimited – Watercolor on board with digital enhancements
My take on an alternate reality version of the classic Beatrix Potter character, (misspelling intended). I like the idea of the character involved in a pulp comic book adventure series. Rendered in a slightly retro, nostalgic tone.



4. The Napoleon of the Small Things - Goache on board
I sometimes wonder where my things go. Car keys, my favorite pair of socks, the right sock gone missing after placed within my dresser drawers. I now know that it is not so much faulty memory. I realized this the other night as I sat at my drawing table and noticed from the corner of my eye, a small being scampering across my floor with a key from my pants pocket…



5. Thigpen and The Feline - Gouache on watercolor paper
An interesting tale if I ever do come up with one for this piece.



6. A Fox through a Dark Wood – Gouache on watercolor paper




7. The Winter March – Gouache on paper
A concept illustration for a book featuring a young monster named Gregor.



8. Summer and the Red Banjo – Gouache on paper
This piece was an experiment in a slightly looser, fluid graphical style.



9. A Secret Journey - Watercolor on paper with digital enhancements
A journey through the swamplands. This was another piece that was very open ended in its narrative. It was also an experiment in using a color palette not normal to my repertoire.



10. The Waterhorse – Gouache on paper
I have quite an interesting “backstory” on this picture. It is listed under this image on my website if you care to take a look.

Thank you for looking.

Contact: Robert@robbridges.com

Website: Rob Bridges

Online Shop: Robbridges (prints and original paintings, commissions accepted)]]><![CDATA[Lee Gainer]]>
For instance, many in the US know of the two month salary rule for buying diamond engagement rings.  It turns out that this was a marketing scheme created by DeBeers in the early 20th century.  They began with one month's salary and then later upped it to two.  Today, the two month's rule has become a romantic tradition in America.  A tradition where a man's love for his future spouse is judged by the size of a shiny rock or rather, what is the bling factor.  I created a print series and a book, both called Two Months' Salary, that shows groups of engagement rings based on the average salaries of several occupations.  I expected to see a difference in the rings according to their price tag but many of them look very similar.  The 2 sets (husband and wife) of 20 prints are 10" x 8".  The book is available through my website.





]]>
For instance, many in the US know of the two month salary rule for buying diamond engagement rings.  It turns out that this was a marketing scheme created by DeBeers in the early 20th century.  They began with one month's salary and then later upped it to two.  Today, the two month's rule has become a romantic tradition in America.  A tradition where a man's love for his future spouse is judged by the size of a shiny rock or rather, what is the bling factor.  I created a print series and a book, both called Two Months' Salary, that shows groups of engagement rings based on the average salaries of several occupations.  I expected to see a difference in the rings according to their price tag but many of them look very similar.  The 2 sets (husband and wife) of 20 prints are 10" x 8".  The book is available through my website.







Another series I created is entitled Unhidden.  As I searched for images to support my theories for other works, I began to notice little things in the newspaper coupon supplements.  The messages there are subtle but, I believe, influential.   Below are three of the 30 painted works that are approximately 10" x 7" (they differ a bit).







Hidden messages aren't just in advertisements.  As a prior band geek and volleyball player from back in the day, I understand the feel of putting on some polyester uniform and being surrounded by those doing the same.  There's a certain feeling of acceptance that comes with it.   You may not be friends with everyone there but you do all belong together, you share similar ideas or interests, and by dressing the same, you communicate that everyone else.    Each print is 20" x 25".







I have spent the last three years house hunting.  In that time, I have visited many real estate agent's websites and received a lot of mail from them trying to win my business.  I noticed that many of them posed for their business portrait (used on their sites, business cards, literature, etc.) by being on the phone.  It made me consider what they are trying to tell me.  Is it an action pose?  Are they easier to reach?  More professional?  Is the perception of hard work better then the result of hard work?  (For those who hide the minesweeper when the boss walks in, the answer is yes).   I searched for more images like this from actual office workers (no stock photos) and decided to print out 30 and paint them to isolate the "on the phone" gesture.  This series is called Workin' Hard.  There are 30 portraits total, each measuring 10" x 8".







I have always been interested in advertising and packaging due to many grocery store visits when I was a kid.  My Mom would be armed with her carefully cut-out coupons, neatly organized, and we'd go up and down every isle.  I grew up in a relatively normal, blue collar American household that strived to maintain the appearance of middle class America, as defined by the media of the time.  We didn't have the internet then but still we were surrounded by images telling us what to wear and how to live if we wanted to be perceived as attractive, successful, and normal.  Now we have the web and advertising has found its way into every nook and cranny of our lives.  It is through this barrage that we receive cues, as a society, about what is acceptable and what is not. I am intrigued by how these pictures, while commercial in nature, can manipulate us culturally.

If you'd like to take a look at the rest of my work, please visit my site, Lee Gainer. If you are in the neighborhood, stop by the Arlington Arts Center where I am a resident artist, and check out our current exhibits.   If you have any questions or comments, feel free to email me from my site.]]><![CDATA[Dustin Timbrook]]>
I've been drawing, painting, sculpting, and making music and videos since I was a tiny kid. I studied painting at the University of Montevallo, mostly working in oil. Lately though I have been hooked on painting with watercolors, and my work has become very vibrant and lighthearted. I usually work in a stream-of-consciousness manner, making things up and adding to an artwork as I go along - like incredibly detailed doodling. The little vignettes that I paint usually start with a human or animal figure and I build from there. I decide what characters, objects, and environments to add as the scene develops. Leaving the end result of a piece a mystery keeps the painting process fresh and exciting for me. Plus, it results in my paintings being absurd and comical, which is my favorite kind of work to create. I have a website to display, write about, and sell my work.

Members Only


]]>
I've been drawing, painting, sculpting, and making music and videos since I was a tiny kid. I studied painting at the University of Montevallo, mostly working in oil. Lately though I have been hooked on painting with watercolors, and my work has become very vibrant and lighthearted. I usually work in a stream-of-consciousness manner, making things up and adding to an artwork as I go along - like incredibly detailed doodling. The little vignettes that I paint usually start with a human or animal figure and I build from there. I decide what characters, objects, and environments to add as the scene develops. Leaving the end result of a piece a mystery keeps the painting process fresh and exciting for me. Plus, it results in my paintings being absurd and comical, which is my favorite kind of work to create. I have a website to display, write about, and sell my work.

Members Only


Picnic Crab


Armadillo Turns One


Cat Water


Cobra Winner


LaShonda is Not Impressed


Pearl Farm


Push Up


Watermelon Day

The internet has been a priceless tool in promoting and marketing my work. Last year I started making funny promo videos to publicize my first solo art show and it worked like a charm (it didn't hurt that they included a super-cute puppy)


The videos got people in a frenzy about my show, and a lot of people came to help me shoot the final promo before the event. This video was shot at Lowe Mill, the old factory where my studio is located.


Since then I've been using video and social media to publicize just about everything I do.


If you want to see more of my work, read about what I'm working on now, or buy some prints or postcards, check out my website. I keep it up to date with all of my work, and sometimes I even use the site itself as a medium for crazy art experiments that you can be a part of.]]><![CDATA[Josh Martin]]>
And that's what I like about them - they're pretty and gritty and fun to look at.  It doesn't need to go any deeper in meaning than that (unless you want it to, of course - be my guest!).  I want people just to enjoy them because they're neat looking! Plus I think it's cool that they kind of look like paintings, and I love printing them out on huge stretched canvases to emphasize that effect. I'm ridiculously new at this, and 2010 marks the first year that I've decided to make my work public.  Even though I grew up in a household with a photography professor and an art historian/art journalist for parents, I was always dissuaded from pursuing any sort of career in the art world (strange, right?), so I sort of kept my light under the proverbial bushel until recently.  And how do my parents feel about my work now that I'm in my 40's, you may ask? I'm happy to say they've come around and they're extremely supportive. Hooray!



clearing - I love the little patch of blue just aching to open up amid all the rust and become open sky.]]>
And that's what I like about them - they're pretty and gritty and fun to look at.  It doesn't need to go any deeper in meaning than that (unless you want it to, of course - be my guest!).  I want people just to enjoy them because they're neat looking! Plus I think it's cool that they kind of look like paintings, and I love printing them out on huge stretched canvases to emphasize that effect. I'm ridiculously new at this, and 2010 marks the first year that I've decided to make my work public.  Even though I grew up in a household with a photography professor and an art historian/art journalist for parents, I was always dissuaded from pursuing any sort of career in the art world (strange, right?), so I sort of kept my light under the proverbial bushel until recently.  And how do my parents feel about my work now that I'm in my 40's, you may ask? I'm happy to say they've come around and they're extremely supportive. Hooray!



clearing - I love the little patch of blue just aching to open up amid all the rust and become open sky.



crossover - I think this was on the side of a rain barrel down by the canal near my work.  It jumped right out at me when I was taking a walk - stopped me in my tracks.





flurry - My camera somehow sees birds and snowflakes when I photograph sheet metal. I stopped myself at two images in this series, but there were so many opportunities in this one piece of metal, it was overwhelming.




galactic - This is one of my personal favorites.  I have always been fascinated with outer space, and happily, I keep discovering space-like images in the most odd places.  Who knew there was a whole galaxy waiting to be photographed in this warehouse driveway?





history II - Sometimes there's no real-world reference, just lovely combinations of color that I enjoy seeing together.





ignite - Something about this odd little patch of metal is just fascinating and tactile to me - like a painting made with cake frosting.





modern II - I really like the scale and placement of the, what would you call them, objects in this one?  The huge diagonal sweep and the sort of floaty bit hanging out under it are somehow comforting to me. Odd.




operatic - this one reminds me of an avante garde stage set, or perhaps that sequence in fantasia where all the musical timbres of orchestral instruments got translated into a visual sequence.




plume - I notice that much of the time, rust on metal ends up looking like an underwater scene after a little color enhancement. Ironic? Coincidence? Either way I think it's really neat looking.






reef & reef II - Lots of people see space in these images, but I always picture myself at the bottom of a reef, looking up toward the surface.




they were here - It's kind of odd for me to include something so distinctly referential to real life as a hand print, but there was something kind of haunting about these little hands, just floating there amid the decaying rock of the wall, that I really liked.




cannonball - sometimes I just want a simple punch against a soft background, and this cannonball on a weathered table in the desert was kinda perfect. It's clearly a real object as evidenced by the shadow, but it's also a little confusing since scale can't really be perceived.



Contact Josh Martin

To see my body of work - or even buy a piece or two (!!), please visit my website: Josh Martin Photography or  email me at sendstufftojosh@gmail.com if you have questions or comments.

]]><![CDATA[Ellen Eilers]]>

]]>











Orange Circle Studio,who produces calendars of Ellen's art, is sponsoring a great giveaway! We have 3 sets of Ellen’s calendars (a 12 x 12 wall calendar and a 7 x 7 Studio Redux) for 3 lucky winners. All you have to do to win is watch the video, answer the following two questions and email your answers to me david ‘at’ neatorama.com.

I’ll pluck the winners at random! So what are you waiting for?!

1. What are the three things Ellen says people say about her work?

2. Ellen says someone once said she was a cross between what 3 people/firms?
]]><![CDATA[Kristin Kwan]]>
I live in southern New Mexico with my husband David and our cat Vinnie Vinosovich. In my spare time I like to tend my flower garden, go jogging early in the morning, and read (especially science fiction). Right now, due to space constraints, I'm focusing on small paintings, but as soon as I move into my larger studio area I'm going to be experimenting with large scale watercolors.



cherryblossoms

]]>
I live in southern New Mexico with my husband David and our cat Vinnie Vinosovich. In my spare time I like to tend my flower garden, go jogging early in the morning, and read (especially science fiction). Right now, due to space constraints, I'm focusing on small paintings, but as soon as I move into my larger studio area I'm going to be experimenting with large scale watercolors.



cherryblossoms







cocoon
I made this for a really great website, Illustration Friday, which I often participate in. Every week there is a one word prompt which people can illustrate however they please. This was my response to
"Cocoon."



countrygardens



crystalline



mr. and mr. nuthatch

fearless



parakeet chess



mockingbird



flora



my npr
I was very honored to be asked to paint something for the 2010 National Public Radio Calendar. In my painting I tried to share the joy and feeling of connection that NPR gives me. The crown was inspired by northern renaissance paintings.



the sisters

Contact Kristin Elder
Email contact@kristin-elder.com
Website Kristin Elder
Blog Ink Blot Paint Spot

References
Susan Mitchell
Julie Fortenberry
Orlagh Murphy
Haubs Comix]]><![CDATA[Ken Turner]]>
I started making custom Converse out of necessity more than anything else.  I'm a Converse collector and I wear them frequently.  I have over 30 pair, however here in Canada, the really funky designs are difficult to come by and they tend to be expensive.  One day I thought to myself 'Why not just make my own Converse?'.  And so I did.  And they were terrible.  BUT . . . they were'nt terrible enough to deter me from trying again.  And again.  And again.  It took a few tries but I managed to work out some kinks in my approach (black sucks as a base colour and Sharpies run if you get them wet without sealing them first, for example).  Soon, armed with an assortment of fabric pens, fabric paint and brushes, Sharpies and Mod Podge (for sealing the ink and rendering it water resistant), I was whipping out shoes faster than a bunch of rabid monkeys at a podiatrist convention (I dunno what that means - remember when I said things whirl through my head?  That was one of them).

The process is relatively simple.  I draw out the design on the shoe, and then simply start painting.  Recently I've been experimenting with 3D designs with relative success.  I have a pair of Spider-Man/Venom shoes that have black goop attacking the Spidey image and a Ghostbusters pair that have been slimed with ectoplasm.  I also have a Freddy Krueger shoe that is ripped and torn, exposing Freddy's signature singed flesh below the green and red striped fabric.  I've also managed to get a few of these designs into the hands of some celebrities - Henry Winkler, John Schneider, Ernie Hudson from Ghostbusters, Dave Thomas from Bob and Dough MacKenzie and SCTV, and Lou Ferrigno.



1. BatVillain - I'm a huge Batman fan (I have a room in my home dedicated solely to The Dark Knight).  These were one of my early attempts with fabric markers.  They turned out pretty well, I think.]]>
I started making custom Converse out of necessity more than anything else.  I'm a Converse collector and I wear them frequently.  I have over 30 pair, however here in Canada, the really funky designs are difficult to come by and they tend to be expensive.  One day I thought to myself 'Why not just make my own Converse?'.  And so I did.  And they were terrible.  BUT . . . they were'nt terrible enough to deter me from trying again.  And again.  And again.  It took a few tries but I managed to work out some kinks in my approach (black sucks as a base colour and Sharpies run if you get them wet without sealing them first, for example).  Soon, armed with an assortment of fabric pens, fabric paint and brushes, Sharpies and Mod Podge (for sealing the ink and rendering it water resistant), I was whipping out shoes faster than a bunch of rabid monkeys at a podiatrist convention (I dunno what that means - remember when I said things whirl through my head?  That was one of them).

The process is relatively simple.  I draw out the design on the shoe, and then simply start painting.  Recently I've been experimenting with 3D designs with relative success.  I have a pair of Spider-Man/Venom shoes that have black goop attacking the Spidey image and a Ghostbusters pair that have been slimed with ectoplasm.  I also have a Freddy Krueger shoe that is ripped and torn, exposing Freddy's signature singed flesh below the green and red striped fabric.  I've also managed to get a few of these designs into the hands of some celebrities - Henry Winkler, John Schneider, Ernie Hudson from Ghostbusters, Dave Thomas from Bob and Dough MacKenzie and SCTV, and Lou Ferrigno.



1. BatVillain - I'm a huge Batman fan (I have a room in my home dedicated solely to The Dark Knight).  These were one of my early attempts with fabric markers.  They turned out pretty well, I think.





2. Spidey with Venom creeping from opposite side. I plan to get these signed by Stan Lee this summer.  This is a display piece so I used Sharpies, though the Venom is gobs of black fabric paint.



3. Venom side of Spidey shoe. Venom is supposed to be oozing out from under the Converse button.



4. Fonzie Shoe. This was one of my first designs.  I used Painty pens and Sharpies.  I got Henry Winkler to sign this and I gave him the other shoe.



5. Freddy Krueger shoe. It was white.  I used Sharpies for the stripes, then cut away sections of fabric, made burned flesh with a mold made from one of my kid's Venom toys and liquid latex.  I put the painted latex under the fabric, quickly stitched it in place and viola.



6. Ghostbusters shoe. I used fabric paint (the ghost glows in the dark BTW) and latex.  I also got this signed by Ernie Hudson (Winston Zeddemore)



7. Slimed side of Ghostbusters shoe. Built up using liquid latex and toilet paper, then painted with fabric paint.



8. Hulk Shoes. Simple Sharpie cartoon on white fabric.  I cut away the purple, stitched the art swatch inside and that was about it.  Got them signed by Lou Ferrigno.



9.  General Lee. Basic Painty pen stuff here.  But I got them signed by John Schneider, who thought they were cool.  "These are cool," he said.  That's how I knew.



10. Me and John Schneider



11. Me, Ernie Hudson, and my buddy Ben



12. Me, Henry Winkler, and my buddies Ben and Ryan

Contact Ken Turner

I do accept commissions, and the details can be found on the website Art and Sole Designs or email kw-turner@hotmail.com.  They do tend to be expensive, largely due to the cost of the shoe here in the Great White North but also the time and energy involved in creating a unique, one-of-a-kind piece.]]><![CDATA[Claire Hardman]]>To relax I do stuff; everything from computer graphics, textile art, sculpting, etching, individualising reading spectacles, painting (watercolour and gouache), illustrating, portraits and caricatures of locals, wine making, curing meats, and anything else that takes my fancy.
A couple of months ago, needing an egg cup, I became frustrated at the lack of imaginative egg cups available.  Eventually it all became too much for me and I decided to make my own - gargoyle egg cups were born.
I am still busy with sheep, replanting ‘The Bush’, commissioned art and graphics work, learning Klingon (weird woman), learning free form rock climbing (some would say that farming here is the same thing), flying RC helicopters and exploring new and interesting things.
I word of warning; I have an irrepressible and sometimes wicked sense of humour.



Chocolate Yum! 130mm x 130mm (unframed). Ink and gouache on heavily textured rag paper.
This is one in a series of caricatures of me I did for a small exhibition.  They were happily accepted and displayed by the organising committee, however, after the exhibition had closed they reminded me that the theme had been small and nude.  In retrospect my oversight was probably due to a deep-seated lack of interest in exposing my privates in public -  I’ll blame my parents (chuckle). I am asked to do caricatures on a regular basis now which I put down to a lot of very good humoured people living in the bush who are happy in their own skins and enjoy a good laugh.


Baring Their Soles 900mm x 460mm (framed).  Hand quilted and dyed silk (sold)
Never having worked with textiles before this was a challenge.  The feet are those of my long suffering husband, mine, and those of two friends who  were not nimble enough to escape my grasp. I rather feel that feet are a neglected part of our anatomy. The challenge was not only to reproduce form but texture and movement. The silk fabric and quilting provided the texture of soles while the foot prints in the background portray the motion.  The piece was entered in an exhibition with a textile/nudity theme and to my surprise, was sold on the opening night.  I’ve not done a very good job of photographing it but I hope you get the general idea.]]>To relax I do stuff; everything from computer graphics, textile art, sculpting, etching, individualising reading spectacles, painting (watercolour and gouache), illustrating, portraits and caricatures of locals, wine making, curing meats, and anything else that takes my fancy.
A couple of months ago, needing an egg cup, I became frustrated at the lack of imaginative egg cups available.  Eventually it all became too much for me and I decided to make my own - gargoyle egg cups were born.
I am still busy with sheep, replanting ‘The Bush’, commissioned art and graphics work, learning Klingon (weird woman), learning free form rock climbing (some would say that farming here is the same thing), flying RC helicopters and exploring new and interesting things.
I word of warning; I have an irrepressible and sometimes wicked sense of humour.



Chocolate Yum! 130mm x 130mm (unframed). Ink and gouache on heavily textured rag paper.
This is one in a series of caricatures of me I did for a small exhibition.  They were happily accepted and displayed by the organising committee, however, after the exhibition had closed they reminded me that the theme had been small and nude.  In retrospect my oversight was probably due to a deep-seated lack of interest in exposing my privates in public -  I’ll blame my parents (chuckle). I am asked to do caricatures on a regular basis now which I put down to a lot of very good humoured people living in the bush who are happy in their own skins and enjoy a good laugh.


Baring Their Soles 900mm x 460mm (framed).  Hand quilted and dyed silk (sold)
Never having worked with textiles before this was a challenge.  The feet are those of my long suffering husband, mine, and those of two friends who  were not nimble enough to escape my grasp. I rather feel that feet are a neglected part of our anatomy. The challenge was not only to reproduce form but texture and movement. The silk fabric and quilting provided the texture of soles while the foot prints in the background portray the motion.  The piece was entered in an exhibition with a textile/nudity theme and to my surprise, was sold on the opening night.  I’ve not done a very good job of photographing it but I hope you get the general idea.



Casanova 550mm x 510mm (framed).  Ink and watercolour on archival quality matte.
I wanted to capture the cockiness of the vertically challenged bantam poultry breed. They’re rather like terriers who think they are Rottweilers.  The bantam ladies are very matronly looking like ones old Aunt Betty and only lack aprons; very cute.  The local agricultural fair/show provided many worthy subjects for this series.



Fighting Cock 550mm x 510mm (framed).  Ink on archival quality matte.
My interest with this series (fifteen in all) of poultry is in the style rather than the subject matter. Although the image of the rooster puffed up with self importance has endless possibilities. I’ve always admired the stylised forms of the aboriginal artists of North America, Canada, and Asia and found that chooks display the style better than my beloved ducks.



Cat Blossom 160mm x 130mm (unframed). Graphite pencil and gouache on heavily textured rag paper.
I have often admired the works of artists who are able to reproduce the lushness of a fur coat in oils or other pigment media. I have had to content myself with graphite pencil in this series but the use of heavily textured rag paper gave the images an interesting dimension. Cats are my favourite pet along with guineapigs who remind me of the Star Trek Tribble with their intoxicating cooing and passive nature … cute as.



Cat Rollo 140mm x 180mm (unframed). Graphite pencil and gouache on heavily textured rag paper.
This series (eight in all) was inspired by a love of cats.  Many of these works     are based on photographs sourced from the net but each in the series bare an uncanny resemblance to fury friends passed and present.  Finding my own style for reproducing fur was a challenge.  When I finally found my way the process became quite meditative.



Commodore, Dollar Yacht Club 520mm x 550mm (framed) Graphite pencil on watercolour paper.
As you may have already guessed there is nothing at Dollar but rainforest and farms.  The annual regatta is held on a neighbour’s dam. The Commodore is also affectionately known as The Mayor of Dollar. Should you ever plan to visit Dollar have no fear of getting lost; it would have to be the most heavily sign-posted place in the entire State of Victoria.  The catch is that there is only an Australia Post mail box there, so don’t  blink or you’ll miss your chance to see a most unremarkable bit of geography.  Having said that, the locals are unique gems.



Rage 480mm x 430mm (framed) Acrylic on rag paper.
This is a series of eight works exploring flora and the art deco and abstract styles.  We have an extensive garden here that leans heavily toward permaculture and self-sufficiency.  Most things are edible but I do allow myself some indulgences such as orchids, rhododendrons and dahlias.  There is not much between our home and God so the sun shines intensely when it’s out and colours are vibrant.  I find the art deco style suits the brilliance of my subjects, and my nature is splash bold colours around.



Dahlia Three panels, each 700mm x 1400mm (unframed) Acrylic on canvas.
As you can see this is another of my bold splashes of colour.  I find I’m getting a bit tired of the trend here in Australia toward homes with a décor in the tapioca range – bland!  I wanted something that could be used as a focal point, a splash that says: ‘Here I am!’



KOI 640mm x 530mm (framed) Ink on archival quality matte
Don’t you just love Koi.  We can’t keep them in this State but goldfish are interesting and relaxing too.  Just looking at them makes you want to just …..ZZZzzzzzzzzz.  WHAT! WHO! Sorry, I must have dozed off for a second there.  In this work I have tried to keep the style simple and in keeping with the Asian reverence for clarity and form.



Egg Cups - Fang Height: 90mm. Baked polymer clay and pigment dyes.
The series just keeps on expanding.  What can I say, I’m a sucker for a cute fang.  Fang is a work in progress but is in keeping with my desire to produce egg cups with character. I rather felt that some children may have lingering phobias if I didn’t tone down some of the more spooky looking gargoyles. As a result, each gargoyle in the series is unique with some looking decidedly friendlier than others.  They are a lot of fun to make and keep manage to keep your focus on your egg rather than the newspaper or laptop in the morning.



Egg Cups – Nose Hair Height: 90mm. Baked polymer clay and pigment dyes.
This is a finished egg cup. The hairy nose and ears comes with complements from one of our black sheep and finishes of the whole look, don’t you think? I have been looking at the door knobs in our house and thinking they could use some character too – my next project I feel.



Snow Ducks 640mm x 540mm (framed) Derwent watercolour pencils and gouache on rag paper.
This is Darrell and his girls relaxing in the heavy snow of August 2005.   Ducks are my favourite poultry.  Ducks are sweet natured, hilariously funny, endlessly amusing and American Pekins lay luscious eggs like demons.  To watch them in the snow is side-splitting. As I may have mentioned before, we farm on very steep slopes and in the snow of 2005 the ducks took to tobogganing like ducks to, well, water.



Blackberry 320mm x 47mm (framed). Pen and ink on pink archival quality matte.
Farmers have a love/hate relationship with blackberries. On the one hand they are anxious weed with nasty thorns that never give up. And then there is that luscious fruit.  Here I have tried to show the ruthlessness of the thorns, the tangled mass that is the noxious weed and the pain you must endure to overcome both to get to that delicious berry.

Contact Claire Hardman

I’m working on a web site but in the meantime, you can see more of my work and that of other local artists at Stockyard Gallery,
or email me at
Claire.Hrdman@gmx.com]]><![CDATA[Jason LaFerrera]]>
I will be having my first solo exhibition, From Here to Over There, on July 9th at Chop Suey Books in Richmond, VA. This will be followed by another show, The Atlas is Painless, opening on July 15th at The Renaissance Center in Dickson, Tennessee.

Here is a peek at some of my work:



Yellow Eyed Junco

The first piece I made using this new digital technique. I tried to emulate aves in poses reminiscent to field guides or old Audubon illustrations. The first series I began working on contain a hodgepodge of maps. I was more concerned with connecting color and texture than location.]]>
I will be having my first solo exhibition, From Here to Over There, on July 9th at Chop Suey Books in Richmond, VA. This will be followed by another show, The Atlas is Painless, opening on July 15th at The Renaissance Center in Dickson, Tennessee.

Here is a peek at some of my work:



Yellow Eyed Junco

The first piece I made using this new digital technique. I tried to emulate aves in poses reminiscent to field guides or old Audubon illustrations. The first series I began working on contain a hodgepodge of maps. I was more concerned with connecting color and texture than location.





Gray Jay

Continuing on this motif, I started working on several individual birds.



I began to play with the composition, incorporating more than one bird per piece.



Landing Osprey

It was at this point that I moved away from field guide-esque illustration, but considered birds in other positions.



Don't Look Back

After playing with fowl for so long, I began to investigate other wildlife that I was interested in.



Doe and Fawn

And after working on the elk, I decided to investigate deer.



Virginia Northern Cardinal

In preparation for my first exhibition in my home state of Virginia, I started rendering animals from maps of their area of habitat. I began with the state bird of Virginia, the Cardinal. After producing this image I had a desire to collage all the state birds, which hopefully I will get to do. The Northern Cardinal is actually the state bird of 7 states, more than any other species of bird.



Virginia Red Fox

The fox, the perpetual hunter of all sorts of birds. This piece is also created from localized Virginia maps.

More of my work can be seen at the website Jason LaFerrera.

I sell some of my pieces as limited run archival giclee prints in my Etsy shop.

I gladly take commissioned work, and can be reached via email at jason.laferrera@gmail.com.]]><![CDATA[Lorraine Nam]]>


1. This piece titled Rice Husband is one of three hand cut paper pieces about superstitions that my mother told me. I draw inspiration from my Korean background and upbringing and juxtapose these cultural symbols with more contemporary imagery. This particular one is about how my mother told me to finish every single grain of rice at every meal. If I didn't, each grain that I left behind will become a physical mark on my future husband's face.]]>


1. This piece titled Rice Husband is one of three hand cut paper pieces about superstitions that my mother told me. I draw inspiration from my Korean background and upbringing and juxtapose these cultural symbols with more contemporary imagery. This particular one is about how my mother told me to finish every single grain of rice at every meal. If I didn't, each grain that I left behind will become a physical mark on my future husband's face.



2. This piece is titled Asphixiation. This particular work is about fan death. I first became acquainted to the idea of fan death when my mother got a phone call from Korea. Fan death occurs when a person is sleeping in an enclosed room (windows and doors closed) and the fan is left on. The fan somehow suffocates the sleeping person and kills him. Although this idea seems ridiculous, the notion of fan death is not uncommon in Korea. I was always intrigued by the idea of fan death and my mother's adamant insistence that it exists.

3. This piece is titled Gender Role. This piece talks more about gender role in Korean culture and the role of women in Korean society. As I was growing up, I was taught to help with the dishes and other chores. One time, I tried to coerce my younger brother to wash the dishes for me. My grandmother overheard me and told me that he absolutely could not do the dishes. I asked why not. To this she replied, "Because his penis will fall off."

4. & 5. These are both close-ups of the two pieces.

6. This shows my process in the gender role piece.


7. This piece is titled Joy Luck. This one again draws inspiration from the book The Joy Luck Club by Amy Tan. "Before she leaves Shanghai, the woman buys a swan from a vendor, who tells her that the bird was once a duck. In an attempt to become a goose, the duck stretched its neck so far that it became a swan, exceeding its own hopes for itself. As the woman sails to America, she dreams of raising a daughter amid the plentiful opportunities of the new country. She imagines that her American-born daughter will resemble her in every way, except that, unlike her mother, she will be judged according to her own worth, not by that of a husband. Like the swan, the daughter will exceed all hopes, so the woman plans to give her daughter the swan as a gift. Yet, when the woman arrives in America, the immigration officials seize the swan and leave the woman with nothing but a feather. The daughter is born and grows up to be the strong, happy woman her mother had imagined. The woman still wishes to present the feather to her daughter and to explain its symbolic meaning, but for many years she holds back. She is still waiting “for the day she could [explain it] in perfect American English.”

8. This is a close-up of the Joy Luck piece.

9. A simple self-portrait.

10. The starling piece is about migration. It was a response to an editorial piece about how starlings are invading the land.

Lorraine Nam

website: www.lorrainenam.com

email: lorrainenam@gmail.com]]><![CDATA[Mark Hosford]]>
My prints, drawings, and animations draw from my influences of fantastic, imaginative worlds and lucid dreams. I draw my subject matter from questions, emotional reactions, and fascinations. I use my art to explore the human condition, revealing my personal view of the world, in the hope that others will compare and relate this exploration to their own. It is my belief that the sharing of stories and emotions helps humankind to understand themselves better by peering into the thoughts of others.

Plate 1

In this series about the my unconscious thought process, I print out an original rorschach inkblot used in psychoanalysis in light grey. I then draw directly over the shape in pencil with my first impulse of what I see in the abstract forms.]]>
My prints, drawings, and animations draw from my influences of fantastic, imaginative worlds and lucid dreams. I draw my subject matter from questions, emotional reactions, and fascinations. I use my art to explore the human condition, revealing my personal view of the world, in the hope that others will compare and relate this exploration to their own. It is my belief that the sharing of stories and emotions helps humankind to understand themselves better by peering into the thoughts of others.

Plate 1

In this series about the my unconscious thought process, I print out an original rorschach inkblot used in psychoanalysis in light grey. I then draw directly over the shape in pencil with my first impulse of what I see in the abstract forms.



Plate V

Another rorschach drawing. Plate number five of ten

Plate VI

Another rorschach drawing. Plate number six of ten

Simpsy Kid

Part of a series where I re-imagine famous or personal ghost stories. Works in this series are done in pencil over stained paper. The color border is printed using an inkjet printer. This piece is about a doll that used to creep me out when I was a child. I thought it would try to murder me if I fell asleep under it.

Stull Kansas

Outside Lawrence Kansas there is a place called Stull Kansas. I used to go here because people always told talk of it being a secret gateway to hell. The church was supposed to open up at halloween, allowing the devil to come up. People said if you threw bottles over the broken roof, you would never hear the bottle break. When you went in the church in the daytime, there were bottles everywhere.

Descender

I had a friend growing up who used to see a man with no head walk behind her when she came down the stairs. This is my re-imagined scenario.

Hungry Dogs

Screenprint. This Piece is about desperation. The dogs have a limited opportunity to catch the fleeting sustanance falling down into a space that they can not reach.

Exorcising The Unconscious II

Screenprint. A piece about having your thoughts and emotions pulled from outward from within by a mysterious set of hands.

Bear Trap

Screenprint. A bear is being led out into a new environment only to be led directly into harms way

Baphomet

Just a screenprint of my version of Baphomet, a half man half goat being. Created for a multi-artist portfolio dealing with big ol’ demon heads.

Contact Info:

Mark Hosford: Drawing, Printmaking, Animation

Email: sugarboypress@mac.com]]><![CDATA[Gilbert Ford]]>I'm Gilbert Ford and I work inside of a converted old studio inside of a pencil factory in Greenpoint, Brooklyn with many other illustrators. I do editorial illustration, advertisements, children’s books, and product illustration. I have recently authored and illustrated a picture book called FLYING LESSONS, published by Disney.

My work is influenced by elements from the classic era illustration and animation, but told with a modern twist. My pictures are either colorful and saturated, or in a minimal color palette based on screen printing. My personal work, whether created through writing a story, creating a screen print, or doing variations on a singular theme, tries to press the boundaries of how we commonly perceive things- both visually and verbally- through a cartoon world of bizarre comparisons, abstract analogies, and clever puns.

This was done as my response to an art show about the great out doors. Rather than do a pretty picture about nature, I wanted to comment on hunters who enjoy the great outdoors and the violence hidden beneath the surface. I love creating visual puns and I thought it would be fun to turn the actual hunt into the actual outcome-a dead deer.

]]>I'm Gilbert Ford and I work inside of a converted old studio inside of a pencil factory in Greenpoint, Brooklyn with many other illustrators. I do editorial illustration, advertisements, children’s books, and product illustration. I have recently authored and illustrated a picture book called FLYING LESSONS, published by Disney.

My work is influenced by elements from the classic era illustration and animation, but told with a modern twist. My pictures are either colorful and saturated, or in a minimal color palette based on screen printing. My personal work, whether created through writing a story, creating a screen print, or doing variations on a singular theme, tries to press the boundaries of how we commonly perceive things- both visually and verbally- through a cartoon world of bizarre comparisons, abstract analogies, and clever puns.

This was done as my response to an art show about the great out doors. Rather than do a pretty picture about nature, I wanted to comment on hunters who enjoy the great outdoors and the violence hidden beneath the surface. I love creating visual puns and I thought it would be fun to turn the actual hunt into the actual outcome-a dead deer.


Here is a visual pun for a project I started called "Faces in Places."
Can you find the woman lost at sea?

This was a variation on a theme of shoes for a series on "High Fashion."
The bizarre shoes are paired with an idiom or a slogan associated with
women in advertising, poking at the absurdity of high fashion.

This is a continuation on the theme "High Fashion" and combines
fashionable attire with playful animals and objects.

This was done for an article about public forum theatre where the audience
is part of the play. I decided to make the piece more about the audience
and have the spot lights hitting the people in seats.

This piece was done for NPR where the logo had to be included in the
piece. I was supposed to illustrate how NPR affected my daily life. Since
I spend a lot of time working alone, I wanted to say that NPR keeps me
connected to other people. In the image, radios and computers are streaming
NPR programs and the radio waves swirl and unite outside of the city windows,
connecting the isolated spaces to a larger whole.

This was for a holiday card for Writers House. I was supposed to illustrate
the actual building in a holiday setting, but I was more interested in
telling a story of what happens inside the building with all of the people
reading manuscripts and answering phones. I also wanted to contrast the
cool twilight with the warm interiors.

This is a personal piece after hearing the news coverage on the economy
where people are trying to stay afloat with all of the obstacles of technology,
finance, housing, etc. out to sting them. There is also the identity issue,
where it is difficult to make out who we are as we try to define ourselves
with the changing economy and the rapidly accelerated technology.

This was a spread for my book FLYING LESSONS about an airplane seen as
a "strange bird" trying to fit in with ordinary birds. In this
scene, he tries to rest on a telephone wire, but scares off the rest of
the birds.









[YouTube Link]

I created this animated teaser to promote the book. I also wrote the
song to show the playful and heart-felt somberness of the story.

Contact Info:

Gilbert B. Ford

]]><![CDATA[Patrick Palmer]]>By Patrick Palmer: I am a traditionally trained artist – I try to capture the beauty of the female form with a minimum of marks - you can recognise someone from 100 yards even though you cannot see any detailed features. Capturing this essence is what I am constantly trying to achieve.

I have a diploma from Heatherley's School of Art in Chelsea and another at The National College of Art and Design, Dublin. I have also been given extensive personal tuition from a close friend of Francis Bacon and a senior lecturer at The Royal Academy.

I am now lucky to exhibit in 4 galleries in the UK and various art shows.

Anna Friel: I know Anna and really wanted to capture her. I was playing around with various colour washes as a background to standard charcoal drawings and I started this drawing on a scrap of paper as an experiment. This was a bit of a struggle but I was happy in the end. It sold at the Affordable Art Fair. The yellow-ochre colour made it.

]]>By Patrick Palmer: I am a traditionally trained artist – I try to capture the beauty of the female form with a minimum of marks - you can recognise someone from 100 yards even though you cannot see any detailed features. Capturing this essence is what I am constantly trying to achieve.

I have a diploma from Heatherley's School of Art in Chelsea and another at The National College of Art and Design, Dublin. I have also been given extensive personal tuition from a close friend of Francis Bacon and a senior lecturer at The Royal Academy.

I am now lucky to exhibit in 4 galleries in the UK and various art shows.

Anna Friel: I know Anna and really wanted to capture her. I was playing around with various colour washes as a background to standard charcoal drawings and I started this drawing on a scrap of paper as an experiment. This was a bit of a struggle but I was happy in the end. It sold at the Affordable Art Fair. The yellow-ochre colour made it.


Girl with folded arms: this started as a charcoal but
went wrong so many times that I had to paint over it and it turned into
an oil painting. It went on for 6 months and I used it as an experimental
canvas for various paint techniques I had been reading about. It sold
recently at The Affordable Art Fair.

Girl with Hands in Her Hair: I had been reading a book
by Degas (my favourite artist) and I was inspired by his painting called
‘combing the hair’.

Hush #3: I love this pose and this was the 3rd attempt,
I loved working on such a large scale.

L’Ange?: She looks like an angel and I started putting
in angel wings at one point. However, there is also a naughtiness about
her face. I’m glad I stopped when I did and avoided overworking it.

Looking Down: This was originally a charcoal that went
wrong. As I had abandoned it, it allowed me to freely experiment with
different techniques especially washes, in the end the background became
as important as the figure. It sold recently at The Kent & Sussex
Art Fair and apparently people really liked the background as much as
the figure itself.

Sculpted Lady: The figure looked statuesque and I tried
to capture this quality in a very large charcoal. The end result is a
bit undefined but works quite well.

Dignity: I was initially captured by the expression
on the girl’s face but having worked on it I really like the reworking
of the drawing in the body especially the numerous lines defining the
body.

CONTACT INFO

Tel: 0781 319 4799 (UK)

Email: patrick.palmer at yahoo dot co dot uk

Website: www.patrickpalmer.co.uk

]]><![CDATA[Matt Rebholz]]>My name is Matt Rebholz and I am an artist and a professor of printmaking and drawing based in Austin, Texas. My recent work has to do with the intersections of science fiction, science fact and the spectrum of utopianism/dystopianism that those intersections represent. My work is inspired by comics, art historical figures such as Albrect Dürer, and technical illustration.

Most of these pieces are etchings, a 500 year old printmaking process. It involves hand drawing the images onto a copper plate, then submerging the plate in an acid that chemically etches the linework into the metal. Ink is then driven into the lines and it is transferred to paper by passing it under the steel roller of an etching press. I produce my prints in limited editions (typically between 5 and 20 impressions), and while very similar, each impression is unique. For more on how prints are made, please check out this excellent interactive cartoon produced by the Museum of Modern Art:

This piece explores the concept of the Arcology, a hybridization of the words architecture and ecology that refers to a self-contained, self-sufficient living structure. In this etching, rival arcologies constructed from various spacecraft components are densely packed together in a vertical environment reminiscent of an urban landscape. It is unclear to me whether they are cooperating or squaring off against each other.

]]>My name is Matt Rebholz and I am an artist and a professor of printmaking and drawing based in Austin, Texas. My recent work has to do with the intersections of science fiction, science fact and the spectrum of utopianism/dystopianism that those intersections represent. My work is inspired by comics, art historical figures such as Albrect Dürer, and technical illustration.

Most of these pieces are etchings, a 500 year old printmaking process. It involves hand drawing the images onto a copper plate, then submerging the plate in an acid that chemically etches the linework into the metal. Ink is then driven into the lines and it is transferred to paper by passing it under the steel roller of an etching press. I produce my prints in limited editions (typically between 5 and 20 impressions), and while very similar, each impression is unique. For more on how prints are made, please check out this excellent interactive cartoon produced by the Museum of Modern Art:

This piece explores the concept of the Arcology, a hybridization of the words architecture and ecology that refers to a self-contained, self-sufficient living structure. In this etching, rival arcologies constructed from various spacecraft components are densely packed together in a vertical environment reminiscent of an urban landscape. It is unclear to me whether they are cooperating or squaring off against each other.


Monolith is an image of a planetarium projector suspended
in space. The title refers to Stanley Kubrick’s 2001: A Space Odyssey,
a movie that I often watch while I am working. The projection globe structure
has been showing up in a lot of other work lately, and reminds me of some
kind of cannon embankment or sea mine.



The Golem Chapter VII



The Golem Chapter XI

The Golem: Chapters VII & XI are from a series of
twenty etchings that chronicle a re-imagining of the story of the Golem,
the famous automaton of Jewish myth.

Beyond the Time Vortex is a gouache (opaque watercolor)
and ink drawing based on a map of the Fermilab complex in Illinois, home
to the Tevatron particle accelerator.

Tower is another gouache and ink drawing. Like Beyond
the Time Vortex, it features a partially submerged futuristic structure,
possibly as the result of some unnamed catastrophe.

Underground Experimental Cavern is the name of an actual
room at the Large Hadron Collider. It was an appropriate name for this
piece about an unpopulated subterranean chamber where it seems like a
sole survivor is waiting out the apocalypse and carrying out his important
work.

Kobayashi Maru is a wooden version of a container ship,
the vessels which transport an overwhelming majority of the world’s industrial
and consumer goods. All good nerds will recognize the title as a reference
to the unsolvable problem given to starship captains in Star Trek.



Blue Danube



Blue Danube - Details

Blue Danube features an enormous planetarium projection globe interacting
with the Russian space station Mir. The title has several meanings. On
one hand, it refers to On the Beautiful Blue Danube, the waltz by Johann
Strauss featured in the film 2001. However, it was also the codename of
Britain’s first operational atomic weapon. There is a wonderful symmetry
to the two uses of that phrase, which I thought appropriate considering
the menacing nature of the globe and the compromised nature of Mir, which
was deliberately de-orbited and crashed into the Pacific Ocean in 2001.

You can see my work in person in a show at the Davidson
Galleries in Seattle that opens on June 3rd. Anyone in the Seattle
area should make sure to come out for the opening and say hi.

You can also see more of my work and contact me at my (woefully out of
date) website as well my page
on the Davidson Galleries website

Thanks for looking, hope you enjoyed the work.

]]>