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Character card: Owns patent leather trousers / Dyed their own hair neon green / Has NTS radio on their phone
They firmly believe comfort is for suckers. Dance until you drop, turn on them five strobe lights until you can barely see, turn up the volume until your neighbors start banging on your wall with brooms.
Artist and curator Jon Duff is the person who can't "watch TV without criticizing every ad that comes up". Jon translates his acute feeling of our current state of overabundance, whether in skyscrapers that compete against one another or global express shipping, through apocalyptic landscapes of gaudy, plasticky commodities gone defunct. He takes great satisfaction crowding his canvas with each detailed object after object in this apocalyptic pile, building momentum towards the magic that emanates things for artists and Internet users alike.
Things don't exist, only relations. When Thomas reduced down his palette to red, yellow, and blue, it allowed him to treat them as building blocks of larger structures. Circles, oblong triangles, and skewed rectangles march in neat rows from one side of his canvas to another, but when they reach the other side they are no longer what they were before; and even the works themselves transform into snapshots within continuous action when they are seen in a series.
Is there something prophetic about Saskia Fleishman's name? Because...pardon us for the terrible pun but her landscapes are fully fleshy. In a twist of fate, fluid and ethereal things like cloud or waves of the sea have been built up with sand, while backgrounds of striking techicolor recede away from the material world.
The swarms of technicolor lined up on Caetlynn's palette are hard to believe came from mixing paint. The cool neon violet, for example, looks like it has been like that forever, made up of a material halfway between mud and clouds. Combined with her ways of boldly cutting landscape with geometry, her paintings become a vision from eyes shaped by digital environments - she has a special interest in mirroring and repetition in particular. As recognizable objects slowly disappear with such modulations, what remains is a sense of transcendence that does not relinquish joy.
Combining black and white photography and collage, Adrienne’s unique perspective uses urban backdrops to create abstract shapes. Hand-cut-and-assembled, her collages are anything but static, with texture and layering emphasizing their handmade quality. The complex, layered nature of Adrienne’s practice subtly blends fragmented photographs into geometric forms.
