Category: ARTISTS

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Dylan Gill

Gill was born into a large, boisterous working-class family, where he grew up in an environment where “you had to shout to be heard.” He found a way to express himself through painting, with art becoming a form of meditation that helped him process the surrounding world’s clamor. Gill integrates his work into the realm of “Cubism,” and we can see how his creations extend and expand an ongoing artistic dialogue, exploring the fractures and contradictions in how we think about meaning, existence, and identity following the emergence of Modernism.

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Shih Siao-Mo

Born in 1972 in Kaohsiung, Taiwan, Shi Siao-Mo is a contemporary artist currently based in Taipei. She has devoted herself to creating large-scale abstract paintings with thematic depth. Her work spans across fields such as philosophy, psychology, sociology, science, medicine, and geology, supported by theoretical literature, delving deeply into the exploration of human “consciousness.”

Siao-mo’s art is not merely about visual presentation; each stroke carries a profound analysis of the issues she addresses, reflecting on the complex and multifaceted social behaviors of humanity. Whether through her paintings, installations, photography, or videos, she blends a sensuous and dynamic idea with rigorous conceptual reasoning.

 

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Carlos Tárdez

Spanish artist Carlos Tárdez graduated in Fine Arts from the Complutense University of Madrid. Both his paintings and sculptures are a constant pursuit of technical perfection, which he combines with humor, satire, and puns. Therefore, in many cases, he has resorted to animals and mythology to express feelings and situations found in our contemporary society. His work blends a figurative pictorial tradition with elements of current language.

In his latest series, the language of graffiti appears on his recognizable neutral backgrounds, a two-dimensional and direct language which contrasts with the reality represented in his painting. The void and defined space, the gaze and iconographic and mythological symbols continue to be the guiding thread of Carlos Tárdez’s work. A scenario in which he develops an enigmatic narrative with a hint of inconsistency or incorrectness that invites interpretation by the viewer.

Since his beginnings, he has received numerous awards, among which we can highlight his three Medals of Honor in the BMW Painting Prize, received in 2010, 2018, and 2021. His work is part of recognized collections and he is becoming a regular participant in international art fairs.

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María Cobas

Maria Cobas lives in the United States, Denmark, and Italy. At a very young age, she demonstrates interest and aptitude towards the arts. She studies architecture between EUAT A Coruña and Vitus Vering, Denmark. After working as an architect for five years, she decides to dedicate herself exclusively to the arts. Maria makes several individual and collective exhibitions and participates at art fairs such as Urvanity Art Fair Spain and Drawing Room Madrid, Spain. Her work nowadays is part of many private collections.
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Maria’s works is a dialogue between surrealism and metaphor, making also an allusion to the dreamcore. Maria Cobas present through it a woman who inhabits a technocapitalist society characterized by the acceleration of the rhythm of life, where time is not longer now but tomorrow. Maria Cobas uses the hybrid human-animal as a metaphor to talk about the constant change in society. She makes a reflection about human values and how hiperindividualism affects us. And she also interested in the relationship between individuals, nature, and technology.

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Dima Kashtalyan

Currently living in Poland, the 35-year-old Belarusian artist Dima, whether through his illustrations or street art, consistently showcases a unique style that is both wild and refined. He categorizes his art as pointillism or stippling, a technique that uses hand-drawn dots as the smallest units of an artwork.

What Dima wants to say in his work is closely tied to issues of modern society and individual life. He cleverly picks familiar everyday objects as the main subject matters of his work to evoke symbolic qualities and resonances. For example, he might depict a fox with a city growing out of its head or a bird carrying a turtle shell on its back. This approach not only invites viewers to think about the meaning of the work, but also creates dramatic visual impact. 

Dimension wise, he prefers to work on large canvases. This allows him to meticulously refine every detail so that even up close, viewers can appreciate the precision and depth of his work. Dima’s work is not just visual pleasures but also intellectual feasts, with each piece whispering profound insights into the world.

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Giorgio Tentolini

Giorgio Tentolini was born in Casalmaggiore (Cremona) in 1978, he trained in Graphic Arts at the Toschi Art Institute in Parma, to graduate in design and communication at the University of Reggio Emilia. After stages with artists such as Marco Nereo Rotelli, he began a very personal research with installations on a photographic basis, for which he immediately obtained significant recognition. His paintings are influenced by his work as a photographer when he used to break down images in chiaroscuro levels.

Each of his works is born from a precise investigation of Time as memory and identity, in a careful and slow reconstruction that takes place with the study of light and the engraving of layers of different materials, fabrics, papers, PVC. Tulle and adhesive tape are the current medium of his search for the meditative lightness that its layers give back to the image, a metaphor for places and memories, dreams and visions. A pictorial work living the reality of sculpture.

Through the stratification of memories and experiences, the image resurfaces in this intangible substance, made possible only by losing oneself in a vision that does not follow the cognitive parameters of perception, raising doubts and questions about the true consistency of human being and the impossibility of fully grasping the essence of reality.

 

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Billy Bagihole

Billy Bagilhole grew up in a household full of his father’s paintings and prints. From a young age, he drew Native Americans, animals, and religious figures, imitating those images created by his father upon the walls. They continued to be a fascination as his father passed away when he was 6 in the year 2001. His experience was embellished as a time capsule of creativity for works ongoing. He often states that the reason he continued to pursue art was because of his father and this is why his empathy for mark-making, for creating is so strong.

Bagilhole predominantly works through the mediums of painting and filmmaking.  Often covering canvases with salt and thick paint, he enjoys the technicality within painting, within color, and within the eye of the lens. Bagilhole frequently works through internal gestures and hints of nostalgic representations of abstracted life, often colliding colors with imagery of sinisterness. He feels that painting becomes an expressionistic form of understanding and that by leaving the work as an open question, an unknown metaphor, meaning within painting or filmmaking, within art becomes infinite.

The attraction to painting Bagilhole states is the ability to create the unknown, the unimaginable, and the uncanny, creating a sense of bewilderment. With sequencing themes such as the often-seen fish bones, his occurring character “Edwin” or the bull, we can start to see a hint at relations between these often differentiated pieces of imagery. Bagilhole believes that we are inherently curious and that the pursuit of art offers an expression of this curious nature. Making art becomes a medium for wonder, something unsolvable a sensory koan that engages both artist and viewer. 

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Alejandro Monge

Born in 1988, studied Fine Arts, Sculpture and Visual Design at the Zaragoza Academy of Fine Arts. Currently focusing on sculpturing.

The portraits painted by Alejandro Monge transcend the visual depth of two-dimensional works. The volume and depth of his creations make them almost sculptural, striving to break through two-dimensional space. The chiaroscuro is reminiscent of Caravaggio; John Singer Sargent was his greatest influence.

Although Alejandro Monge specialized in sculpture during his visual arts training, the painted parts in his art are stunning in a hyperrealistic way that is reminiscent of photography and tries to trick the eyes of the observers. Afterward, he began to focus on the creation of sculptures and installations, one of which revolved around realistic banknote sculptures. Monge recreates them on paper and acrylic paint, stacking them in large piles, often in order to incinerate them. By destroying his own work, he satirizes his criticism of the omnipotent domination of today’s social and economic values, and this series has attracted extensive coverage and attention in the international media.

Alejandro Monge reflects on destruction as a new form of creation. While busts are invaded by contemporary classical elements, they still burn in the purest Baroque style or iconic objects reflecting contemporary events. With this, Monge presents an eclectic exhibition that combines different techniques and materials to generate an unusual aesthetic challenge. Each piece takes a long time to create, and he invests his body and soul, creating an emotional and psychological feedback between the artist and the piece.

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Oton

Oton is a self-taught artist, who has nurtured a passion for painting and drawing since childhood, particularly inspired by scenes from Madrid.

His work is full of mischievous and provocative elements. Beneath an aesthetic that appears childlike and innocent lies an acerbic reflection on our society. 

Artwork from his early stage of career featured a series of action paintings enriched with collage elements, exploring themes of neo-dadaism, abstract expressionism, and pop art.

Later on in his career, he took a pivotal move and began creating irreverent, scatological parodies of popular culture icons, questioning our relationship with media imagery. His playful, uninhibited drawings blend ingenuity with irreverence, reflecting a critical yet humorous perspective.

 

 

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Max Bi

Max Bi’s inspiration comes mainly from the 1980s, a time of cultural upheaval with global capitalism, mass media, wealth disparity, and unique music typified by electro-pop and hip-hop. In addition, the 1980s were filled with politically pivotal events, such as the fall of the Berlin Wall in 1989, which marked the end of the Cold War. Max Bi was more influenced by important street and graffiti artists of the time such as Jean-Michel Basquiat, Keith Haring and Kenny Scharf.

In the early 2000s, Max Bi reproduced the writer’s calligraphic graphics on raw jute canvas using stencils and spray cans, their labels, which resembled the original glyphs, and took his figurative cues from Italian Pop Art iconography . Tribal masks from the Paladino or Basquiat-style graffiti, but reinterpreted in an informal way. A lot of fluorescent colors are used in Max’s works. This kind of color matching is often accompanied by a sense of distance and surrealism. At first glance, it is the sum of bright and colorful, but if you go deeper, you will find that his humorous vocabulary, words and Alternating space-time changes.

Max Bi’s animal series depicts imaginary cityscapes inhabited entirely by animals, where the presence of humans leaves free space for the actions of animals, sharks, wolves and many other animals are the only protagonists in the narrative, carefully Look at these animals all have anthropomorphic features and stand in the foreground with irregular bright color elements superimposed. In these works, animals and humans switch roles, with the former inhabiting the latter, giving life to the scenes and making the viewer wonder whether these cities represent freedom or a cage. Max Bi’s artistic language is the result of 20 years of figurative research, in which the artist experimented with a mixture of languages ​​and various expressive techniques. The result of this constant search for novelty and variation led him to draw unambiguous inspiration from the pictorial panorama of Italian Pop Art, such as Palladino’s tribal masks or Basquiat’s graffiti.