Greg Rose’s paintings on paper continue in the spirit of his earlier works offsetting the randomness of nature with the control of the man-made. These new works however lean more towards the organic with brushwork that is looser and more spontaneous.
Greg Rose has always been interested in the gap between things that happen “naturally” and things that happen “by design.” There is a mannered place between these two extremes where both thought and action crossover and become confused – resulting in a gesture that is poetically staged and awkwardly ideal. It is in Ikebana, the Japanese art of flower arrangement, that he has found a perfect source of inspiration that represents this collision of aesthetics.
In these new paintings, he is not attempting to remake an image of an Ikebana arrangement. It’s the abstract spirit of “arranging” that he’s after. An ideal positioning of paint marks that balance intuition and design; a balance between the strange and the familiar, between the graceful and the awkward, between the organic and the architectural; a balance between compulsive (dis)ordering and just letting go.
Alan Forbes, 37, was born in Connecticut, and has spent the last few decades on the West Coast. A faithful San Francisco Giants fan, he currently resides in Echo Park, under the menacing shadow of Dodger Stadium.
Forbes started his career in Hollywood, employed by Tower Records on Sunset Boulevard, where he was a notorious prankster. Following his tenure in the Tower Art department, he began a successful commercial Art career in the music industry. Early on, he developed the signature icon of The Black Crowes. Since then, Forbes has become a household name among Rock poster collectors, other Artists, and musicians as his portfolio has grown to include over 400 visually explosive silk-screened Rock Posters. Many of these posters draw a hefty sum in the market. They are not only valued for the supercharged imagery, master craftsmanship, and low-numbered editions, but Forbes also has a knack of forecasting the Rock zeitgeist by working with bands before they are well known — bands such as Queens of the Stone Age, Rage Against the Machine, The Offspring, and the White Stripes.
In between producing posters and commercial work, Forbes also found a following in gallery shows beginning with his first group show at La Luz de Jesus in 1991. Past shows have included what is seemingly an infinite procession of found sculptures, which Forbes has modified and charged with visual warps, iconography, and spiked with humor, sex and venom. Many of these pieces have been published in several books and publications, including the book Kustom Kulture and the periodical of alternative art Juxtapoz. His last showing of “What’s the Matter Now?” is his total transformation from three-dimensional artwork to oil and canvas.
Ashley Isham is spelt as local. He has even went into the worldwide audience tv as a guest judge on “America’s Next Top Model”.
Ashley left Singapore in 1996 to take a pattern cutting course at the London College of Fashion, and was later accepted into the prestigious Central St Martin’s College in London after he managed to impress the interviewers with his portfolio. Ashley also moved to Middlesex University afterwards.
He set up his own label “Ashley Isham” in 2000 upon completing his studies. In 2001, he also opened a boutique called Acquaint, hoping to “promote fashion talent and support other young designers”, quoted from his website. He rose to international fame after showing his Autumn/Winter 2003 collection during the London Fashion Week. Following this, he opened his flagship boutique, Ashley, in 2005.
He came home last year to present in the Singapore Fashion Festival 2006 and he said, “I’m excited to come home and present my first stand-alone show and honoured that it is presented by Mercedes-Benz, a design leader in its industry. As a fashion designer from Asia, I’m also proud to be invited to judge their MBAFA and very keen to preview the new young Asian talents of today. It is with such a platform that gives young designers the opportunities to rise and show the world what they’re capable of.”
Kanya Miki is born on 10, January 1974 Born in Hyogo, Japan and currently now resident in Paris. He graduated from Antwerp Royal Academy of Fine Arts with Highest honors Prize and has worked at Walter Van Beirendonck as assistant designer and at John Galliano as assistant designer. At November 2004, he started his own line, KOSMETIQUE LABEL and in January 2005, he has his 1st collection at Showroom in Paris.
His stories are here and there all over the web and here’s an excerpt from http://stylezeitgeist.com/forums/thread/777.aspx:
“The most important thing at this time of departure for my original brand, KOSMETIQUE LABEL, is to create unisex style clothes. I express my style which fits both men and women, with changing sizes, even in the same design.
And I think it is the style that expresses his or her personal character.”
“The most important thing for me is to make people look elegant when they are dressed.
I would like to express this also in work pants or sweat shirts, which are essentially called working-wear or sportswear.”
“I also would like to create in my collection my own experiences I have had in Europe and my Japanese background.”
(Quoted from Modenatie FFI)
LONDON, September 20, 2006 – The energy surging from young London fashion is affecting everyone in its radius, including, it would seem, a slightly older generation. Something certainly inspired Giles Deacon to up his game this season. His spring collection was definitively the best he’s done.
Deacon has always aspired to a Parisian level of couture-like design, but the execution has tended to be a bit lumpy and clunky at times. This season, he delivered on all fronts, with a collection of chic sixties looks that had an underlying S&M theme, madly accessorized with vast ostrich hats by Stephen Jones. If that sounds aggressive, it didn’t stop Deacon producing a slew of beautiful dresses. One was a short trapeze of black lace overlaid on white; another was a gown in tiers of stiff fan pleats, trimmed with patent at the neck. Others were belled at the hip, or Empire-line in a slightly off-register print of dancing skeletons.
The bondage theme was worked out in the spiky stilettos, prints of whips and chains, and, most pointedly, in the squashy patent bags loaded with giant studs. They’re the result of Deacon’s collaboration with Mulberry, and among them was one of the wittiest little evening bags to be seen in a long time, made in the shape of a miniature mace. Bottom line: Thanks to his new level of accomplishment, Deacon has put clear water between himself and the next generation of beginner talent. And, in the meanwhile, those bags promise an excellent income stream he could surely do with.
– Sarah Mower
The term gothic comes to mind when viewing Cuerden’s painting. Whether he paints the overpowering institution or the mock-Tudor suburban home these buildings are depicted as repositories of mystery and terror, sinister buildings and landscapes of disquiet. Autumnal vegetation contrasts sharp, black timbers and a toxic, yellow light. These structures describe a house of nightmares, violence and taboo, so often the basis of Gothic fiction.
However, the genesis of these paintings is not literary or fictitious but autobiographical, and unlike Gothic narrative, there is no clarification or revelation of what lies behind the terror or mystery.
The artist has based the works on houses that were the site of painful and traumatic events, but the paintings are not confessional. Moreover, they are perhaps powerful because the poisonous past is not allowed to burst out. We are kept on the outside. The locked door, the placid, polished surface makes one aware of an oppressive silence charged with secrecy. The painting is unable to say what has happened.
In most, the placing of the house in its setting is implacably calm. Set at a discreet distance from the viewer, settled in its landscape with neo-classical composure, the house survives as a repository of secrets, of clandestine acts protected from revelation under the thick veneer of lacquer.
Amy Stein is a photographer based in New York City. She was raised in Washington, DC, and Karachi, Pakistan. Amy holds a BSc in Political Science from James Madison University and a MSc in Political Science from the University of Edinburgh in Scotland. Most recently she received her MFA in photography from the School of Visual Arts in New York.
Amy Stein’s photography often explores the beauty and tension of moments unseen or unnoticed. Her work has been exhibited nationally and internationally and has been featured in publications such as Photo District News, ARTnews, Vanity Fair Italia, Smithsonian Magazine and The Washington Post.
The unique and extraordinary world of art you have been too. See it with respect.
The doe-eyed ingénues in Chiho Aoshima’s digital drawings seem to emerge from beyond nature itself. It’s as if they were born whole within a garden of unreality populated by themes milled from centuries of Japanese culture, ranging from Edo scrolls to Sailor Moon. Seamlessly integrating traditional Japanese landscapes and Zen-inspired motifs such as animals, birds, flowers, insects, ghosts and demons with the kawaii or ‘cute’ imagery which permeates contemporary Japanese pop culture, the five exquisitely rendered, large-format digital prints included in Aoshima’s first solo exhibition challenge the boundaries between fine art and popular art while also acknowledging the influence of traditional painting. Paradoxes abound. Technology, it would seem, has surpassed even nature with its achievement of perfection.
A Chinese artist from the early 17th century commented, ‘the distinguished modern artists never paint one stroke that is not like the ancients. But to be absolutely like the ancients is to be not like them at all. It is not even painting.’ In addition to her appropriation of Japanese design elements, Aoshima utilizes the stylistic conventions of 18th-century scroll painters and printmakers in creating luminous, cunningly balanced compositions. She begins by drawing small sections on her computer using Adobe Illustrator, taking particular care with her rendering of organic forms, such as vines, to ensure every whorl and curve has a natural feel. Specific elements of a drawing may be archived and reinserted where needed. After the line drawings are complete, Aoshima applies colour and sets the data, then prints the sections out and arranges them into their final configuration, which she designs as a whole at the end of the process.
For the past several years Aoshima has worked as an artist and in-house computer technician for Takashi Murakami, the progenitor of Superflat, at his Hiropon Factory in Tokyo. Though she was never formally trained, she possesses an awe-inspiring eye for detail. From these works installed chronologically in the gallery’s two rooms the rapid evolution and increasing complexity of her vision are evident. Paradise (1999), the show’s earliest piece, is also its most conventional, despite the proliferation of naked girls lolling with fauns next to a rainbow-lit stream. Her obsessive attention to detail and attraction to the morbid is well illustrated in Mushroom Room (2000). Within a dripping violet and purple annulus a naked girl lies on her back in bed, staring wide-eyed up at the ceiling as a multitude of spotted mushrooms colonize her room. Next to the bed is a stack of books, whose titles seem to mirror the girl’s mute thoughts – Don’t Die, I Want To Go Somewhere For Play and When Will You Make It Wait For Me?
The expansive, all-over compositions of Aoshima’s gorgeous, horizontally formatted murals The Birth of a Giant Zombie (2001), the exhibition’s most recent work, and The Red-Eyed Tribe (2000), probably her best-known piece, have been compared to Henry Darger’s epic productions. Originally designed as an invitation to an Issey Miyake fashion show, The Red-Eyed Tribe was blown up to a whopping 15 x 52 feet and filled an entire wall at Murakami’s ‘Superflat’ exhibition in 2000. In this exhibition the print is smaller, but no level of detail is sacrificed in the shift of scale. As with Darger’s massive murals of the fictional Vivian sisters, the works depict droves of pale, wispy-haired waifs draped in filmy, translucent gowns that accentuate their unity as well as their vulnerability. Adrift yet static within undulating landscapes that seem to reverberate with cool light, soft colour and the vibrant patterns that surround them, the girls seem insubstantial and transient: tissue paper dolls too flimsy even to fathom desire. Yet in The Red-Eyed Tribe there is a hint of disorder just beneath the surface of all that crystalline splendour: a crimson malice is reflected briefly in the shallow pools of the nymphs’ bloodshot eyes, transforming them into a murderous coven of bloodless Children of the Damned.
In The Birth of a Giant Zombie chaos has seared through the surface dimension, corroding and consuming everything in its path. A befuddled teenage succubus with the apparent destructive power of anti-matter kneels in the midst of an ancient graveyard as everything around her dissolves and the pixie residents flee in dismay. Evoking the image of a broken reel at the movies, the viewer is confronted with the harsh glare of a flat, blank white screen. Further illustrating the immaculate flatness of her landscapes, Aoshima often exaggerates certain forms to produce a unity of patterning that borders on abstraction. This disorientating breakdown of pictorial space imbues the plane with a tension that seems to thrum with the innate rhythm of proton versus electron. With the addition of airborne apparitions and forms that float without any regard to the horizon – inexplicable plumes of silver-tinted mauve smoke and shards of incandescent crystal in place of a moon – Aoshima’s fantasy escapes transcend oppressive earthly conventions such as perspective and gravity, creating an atmosphere of utter artificiality that borders on the sublime.