Jesse Fillingham lives and works in Pasadena, CA. His cosmic paintings are usually framed within a geometric void. Drippy figures hover in and out of dark realms and grids. From a recent press release his work is described as “…exploring themes of myth, introspection, creation, and wizardry. A series of drawings depicts an alternate creation myth composed of trees of strife, knowledge and life, as well as ephemeral libidinous spirits – robed men ponder and wander through graphic landscapes.”
Sishir Bommakanti is a freelance illustrator and designer out of Sarasota, Florida. Bommakanti employs some really creative technique in the creation of warped, figurative paintings. Definitely right at home with the work of Francis Bacon, maybe just a little WK Interact (+ color), as well.
More images after the jump, as well as a really cool process video.
Artist Sam Songailo uses bright colors, straight lines, and bold, graphic shapes in his outdoor and indoor installations. Geometric repeating patterns span span floors, ceilings, and walls. Lighting plays a role in his work as it enhances color and gives the work a sense of space and a depth of field. Once the viewer is immersed in the space, all of the elements of Songailo’s work transports them to another place.
Outdoor installations, like the ones on a city street, work with the existing landscape. Songailo’s patterns fill and conform to every inch of the given space like a mutating organism. The high-contrast colors and intricate trellis-like shapes create a disorienting effect. Not so much when viewing it as a whole from above, but walking through it leaves little indication of direction.
Before he started large-scale installations, Songailo was a graphic designer. This is evident in the execution of his work, especially in one of his few indoor installations, Zen Garden (directly above). The piece mimics the lines of sand, with a few “rocks” that are spread throughout the gallery floor. Songailo is able to have full control over the space, and uses principles of design to make it not only attractive, but to effectively transport the viewer to a minimalist, geometric zen garden.
Half humans, half birds; Sarah Louise Davey’s ceramic sculptures are the symbol of emotional duality. She is blending a woman’s face with a beak and a feathered gaze. The eyes seem so real, they are preventing us from looking away. Insisting that we come closer and try to understand the meaning of it all. The other sculptures are hanging from leather cords and chains. Two arms ending with birds’ feet with rose metal claws. The arms and the faces are covered in wrinkles, leaving us wondering how old these creatures are, and if this is what will happen to us too. It will, in the artist’s imagination.
Looking at the sculptures, it feel like we’re entering the world of the wizard of oz meets the barnyard, fantasy meets reality. Isn’t it what we’re living daily? If we think about it, the result is far from being pretty and perhaps this is Sarah Louise Davey’s purpose. In order to reflect deeper on society, norms and beauty we need to stretch the limits of our understanding. When the artist exhibits those pieces, she is almost questioning if we, as individuals are not all freaks after all. Freaks that need to be analyzed and understood, because underneath the wrinkled skin and the animal features we each have a complicated unique soul giving us an infinity of possibilities. ‘At the heart of these works is the eternal push and pull of the spirit’.