Category: ARTISTS

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Fabio Viale

Fabio uses the traditional but classic medium—marble, to reflect on contemporary thoughts and behaviors, and from the perspective of art history, especially Italian sculpture history, to explore how past classic works are constructed and continue to influence human belief and ideal symbol. His profound carving skills allow the hard medium of marble to accurately represent everyday objects and figures, just like the texture of paper, rubber or tattooed skin.

Two different visual cultures coexist in Fabio’s works: one is the aesthetics of Western art history and the spirit of flawless creation, and the other is the traditional Japanese technique of tattoo art. However, the artist deliberately treated the material of the sculpture like foam plastic, shaping it with this texture and deliberate flaws. The unreality of the sculpture not only reminds people of highly commercialized religious icons, but also mocks the commodity under Marxism. worship. In addition, his precise handling of detail and materials is the best interpretation of these powerful symbols and re-contextualization of everyday objects, and the irony generated by his clever appropriation and manipulation is what makes these sculptures truly unique and thought-provoking. 

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Edoardo Cialfi

Edoardo Cialfi studied at the Alpinolo Magnini Academy of Art and then obtained a First Class Academic Diploma in Painting and Visual Arts at the LABA in Florence. Currently studying a two-year specialization in Art-Cultural Mediation in Painting Studio Direction at the Academy of Fine Arts in Verona.

His art started in 2008, when he started using the aerosol medium, and in 2012 he started doing street art groups. In an academic setting, however, he decided to move his research away from walls to more traditional flat surfaces such as canvas, wood or cardboard. He began working on a reinterpretation of archetypal pictorial languages, especially the genre of landscape painting, but maintaining a strong connection to his origins, creating his aerosol works. In the works presented this time, on the one hand, the urban countryside shrouded in smog is printed on canvas with spray cans and oil paint; on the other hand, the tangible and three-dimensional structure is between photography and sculpture.

His reinterpretation of landscapes is more than an aesthetic manipulation. He tried to use two fields to express two different concepts: fog and storm. Fog is the medium through which he attempts to represent the isolation and insecurity that characterizes contemporary man. Storm, on the other hand, is his means of trying to express the concept of nature as a threat, an autonomous, impartial entity capable of loathing human existence, and these landscapes are the domains of his birth and life.

 

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Daniele Oldani

Born in Milan in 1979, Daniele Oldani first encountered art at the age of fourteen, including graffiti and painting, thus starting his self-taught artistic career. Daniele Oldani graduated from the Milan Academy of Comics, and worked as a cartoonist and illustrator with a number of publishing houses, including Warner Brothers. Over the years, painting has been with him, and he has also continued to explore various styles and artistic trends, constantly looking for his own identity.

In Daniele’s works, “mirror writing” is a characteristic that can be seen at first sight. He randomly writes in the opposite direction of the text, so as to obtain the mirror image of the normal text. The modern common usage of mirrored writing can be found on the front of an ambulance, as in the word “AMBULANCE” is usually written in a very large mirror image so that the driver sees the word in the correct way in the rearview mirror. Daniele’s work can be displayed with a mirror to get the text in the correct direction, adding interest to the display of the work. Mirror writing is sometimes regarded as an extremely primitive form of code, the viewer can continuously interpret the text in the picture, and then find the clues left by the artist.

 

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Antonio Cugnetto

Born in Lamezia Terme in 1983, after graduating from the Liceo Artistico in Catanzaro, he moved to Florence where he graduated in Contemporary Painting at the Academy of Fine Arts of Florence in 2007 and started his personal and critical art studies. His works have participated in auctions many times. During his career, he has participated in many activities and competitions all over Italy, and has emerged in the art market in various art festivals, expositions, and awards.

Curator Carolina Lio once commented on Antoni’s work: His creation is playful but ironic, a stylized little man, as in a children’s cartoon or cartoon, seems at first glance to be part of a childish and carefree scene , yet a second glance at the work reveals the grotesque details of its violence. Antoni’s work reveals the hypocrisy of everyday life, both serious and not-so-serious, often confined to our repressed unspoken intentions or realms of thought. And his choice to represent them in a poor and childish language makes them all the more poignant

 

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Rhys Brown

Rhys Brown is a London based creative that uses his work to harvest happiness from within the feeling of nostalgia and youth. Rhys is known for his relief style squashed plush prints from childhood favorites and oversized huge teddy bear paintings that are reminiscent of Yves Klein’s Anthropometries works.
The nature of his works are produced in a way that makes every print unique from the body movement to the amount of ink applied in a specific area.

 

 

 

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Lucas Lamenha

Graduated in advertising, Lucas Lamenha has been working as a creative for over 15 years. He has received significant national and international awards throughout his career, such as 5 trophies in the Gramado World Award (2003 and 2005) and 2 Short Lists in the London International Festival (2003), one of the most revered festivals in the world. It was his experience as Creative Director in advertising that led Lucas Lamenha to explore and discover himself as an artist.
Lucas uses graphic elements and characters that not only reflect the modern world’s chaotic surplus of information, but also work together to convey a larger story. He draws the viewer in repeatedly and provokes the public by using storytelling as a key element in his thematic, transformative way of converting memories into stories told with spray, acrylic and marker – Stories about a ludic, original and colorful universe of his own making.

The uniqueness of his strokes and his outstanding style imprint generalities, such as numbers, music, dilemmas, idiosyncrasies, love and peace, that translate some of Lucas’ essence, past and present into paper, canvas and objects. By doing so, Lucas is taking the sub-genre of “doodle art” into previously uncharted territory.

 

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Katharina Arndt

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Katharina Arndt is a contemporary artist from Germany who lives and works between Berlin and Barcelona. She studied Fine Arts at Braunschweig school of art and later on obtained her Master of Fine Arts by John Armleder. 

She does this through artificial mediums such as PVC film, lacquer paper and Plexiglas with glossy acrylic paint and lacquer markers, using glossy texture to represent our plastic and materialistic culture. The focus of Arndt’s practice is the observation of digital communication and the portrayal of mass consumption in the digital age. Her cartoon figures are a reflection on how we express ourselves in the digital arena and how we are becoming ever obsessed with the digital world whilst losing ourselves in the physical.  Fast, reduced, almost childlike, motifs and medium  ironize the contemporary mass consumerist aesthetic of a decadent, abundant society in picturing her everyday life.

Many paintings with beach references, sunburns, and even Spanish brands of drinks like beer cans or juices can see the influence of Barclona on Arndt.  She also thinks clothes and accessories give a perfect impression of the spirit of the age we are living in. The stark contrast between reality and fantasy in her artworks reflect the artist’s livelihood in her young age in the East side of Germany, back when there wasn’t any food in supermarkets. She is deeply perplexed by the absurdity of our modern day-to-day activities and behaviors, and adopts a seemingly childish way of painting as an attempt to step back and look at things as they genuinely are.

 

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Akihiko Yoshida

Over the past few decades, Yoshida has produced more than 10,000 works, ranging from small items such as belts to large works over two meters high. Regardless of the dimensions, each piece is carefully crafted and is equally important to Yoshida. From softly sculpted objects to expressive figures, he hopes to bring laughter to everyone through his work, an art that embodies warm feelings of Yoshida.
Yoshida’s sculptures are visually as ethereal and light as porcelain. What makes people unexpected is that they are carved from a whole piece of wood. There is no stiffness in traditional woodcuts at all. Every piece of work has its own aura, each very lively. In recent years, Yoshida’s creative themes are mainly animals. These animals are records of the artist’s daily thoughts, acting as his spiritual diary. Through anthropomorphism, the artist seeks to express the universality of joy and sorrow that humans experience through animals. If you look closely, you can see that the eyes of the animals are closed, giving a sense of serenity, reverence, and security. The artist also composes a lovely poem for each piece.

 

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Cai Yi Xiu

Cai Yixiu was born in Fujian in the year 1987. After graduating from Fuzhou Arts and Crafts School, Cai Yixiu started interning at the studio of Shanghai-based artist Su Xiaobo in 2008. He has been working in the field of lacquer art for many years and is now a professional artist. He focuses on lacquer art creation and is affectionately referred to as Cai Yixiu by his friends due to his resemblance to the character “Yixiu.” His real name is Cai Chuanxiao. “The integration of tradition and modernity has always been what I’ve been exploring,” Cai Yixiu said. During his youth, Cai Yixiu studied under the guidance of artists Zheng Chongyao and Su Xiaobo.

Initially, during his self-exploration and creative phase, he leaned more towards mastering the technical aspects of craftsmanship. Under the tutelage of Zheng Chongyao, he honed his craft skills. However, after coincidentally meeting Su Xiaobo, he broke free from the confines of traditional craftsmanship and seemed to discover a new world. From then on, he began contemplating the subtle connection between art and craftsmanship. Cai Yixiu also mentioned the challenges he faced during his studies. Both teachers held high standards for themselves and extended the same to their students. The traditional techniques of Zheng Chongyao and the contemporary artistic language of Su Xiaobo complemented each other and collided in fruitful ways. This experience influenced Cai Yixiu’s creations, and now his lacquer art is “shedding” its past. Breaking away from traditional craftsmanship, Cai Yixiu presents a fresh perspective on lacquerware that deviates from the norms set by artists in the field. Despite the costliness of lacquer, the young artist Cai Yixiu hopes to not view lacquer art merely as a craft but rather as a material for free artistic expression, breaking traditional rules under the influence of art.

Viewers often sense “vicissitude” and “loneliness” in your creations. Can you share the story behind these themes in your life?Cai Yixiu: Many people who see my work say that it doesn’t seem like something created by someone my age. The traces of time evident in my works often stem from personal life experiences. In the work environment in Fuzhou, I am essentially on my own, and my creative space is relatively enclosed. Facing walls that carry the remnants of time on a daily basis, being in constant contact with these atmospheres, it naturally has an impact.

 

 



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Nicolás Romero

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Nicolás Romero began twenty years ago signing and doing graffiti in the streets of his native Buenos Aires, a city that was living the hangover of a military dictatorship that had lasted eight years and that at that time understood street art as an expression of freedom. He moved away from graffiti to start developing a mural work with which he experiments and plays with its symbolic charge in his confrontation with public space.

At present, Nicolás is developing his work around the “Dead Natures”, with which through the union of elements he has found a way to use the image as a means of social reflection and anthropological research. He works through traces that he finds in his most immediate context, the result of the social network and symbols born from the coexistence of social, cultural and economic factors. From soft drink bottles to religious prints, political symbols, contemporary icons or something as apparently innocent as fruits and vegetables are part of these compositions that he uses as a bridge to talk about more complex realities.