I have always worked in between the realms of the abstract and the figurative. With these paintings, I wanted to show the application and the workings of both on the same plane. Moving between the abstract and figurative, the images flip between the conscious figurative and the subconscious abstract, making a home between the two. A world of mirages and often surrealist imagery brought on by the constant movement between the two. The gestural lines that at times follow the abstract and at other times branch off on their own, also allow the work to develop spatially and expand.

Andy Bauch develops dynamic artworks that beckon viewers to question the ever magnifying pull of the digital world on the physical. His use of recycled LEGO bricks, an eye-catching and familiar childhood hallmark, draws in the audience to reflect on the finite, digital palette of colors available in his chosen medium. Bauch’s work, often designed by computer algorithm and produced with software assistance, increasingly reflects upon the physical manifestation of the abstract threat the technological singularity poses to our way of life.

My drawings testify to the trauma, trial, and marvel of embodiment. Skin is one’s means of intimacy, but circumscribes the body’s essential [al]oneness. Its edge is grounding and self-estranging. I draw these lines around the body, and vivify skin in a fused lect of stark line and tart color, pallor and recanted mark. The chalk’s infirmity and paper so out of true — rent, rubbed, irregular — seat the body in new multiplicity. Fossilized in epoxy resin, the body is illuminated and camouflaged at once. In his nakedness, the person concedes to his body, to its shape, and to its visibility. The fluid ground posits the paper as an analogy for the body’s own integument; this deploys the piece as a body itself, rather than as a picture. So unfastened from real time and space, the viewer can ‘enter’ the piece unimpeded by the literality of the world that first taught us difference, that first regimented beauty.

In my studio practice I create installations, paintings, and performances informed by my research that considers the range of expressions of what it means to be a woman with cancer. I employ spitting as a form of painting, laser cutting as a form of drawing, and sewing as a means of healing to create my work.  The art I have produced, and continue to develop - influenced by my research and personal experience - includes digitally printed fabrics constructed into quilts and wearable garments.

"Maskamorphic" exploring the psychology of wearing Masks. Whether it is furries, drag queens, or Internet trolls we all wear masks, however, the true self, the inner core of our being, lies much deeper. It is the awareness of humility, creativity, compassion, and all the positive attributes one has as well as the ugliness that we have carried and learned from the past. We have a desire to present ourselves the way we wish others to see us. Do we want another to accept us? Do we want someone to be afraid of us? Do we want love? The exploration of self is a trip that is not without its pitfalls. You will explore old haunts and old traumas, however, you will be able to make sense of them and you will finally be able to see how they helped create your personality mask over time.

As a traditionally trained artist Blair Martin Cahill is extremely interested in the new dynamic of art and uses an amazing array of modern tools in conjunction with long established techniques.
By combining traditional methods of foundry casting and textile production with cutting edge technology, Cahill finds infinite opportunities for producing completely unique and truly
contemporary fine art. Cahill's new work encapsulates the traditional with the modern and juxtaposes dissimilar materials, such as steel and silk. Cahill obtained her BFA from California Institute of the Arts and then attended the University of Arts London, Chelsea for her MA in Fine Art. This further established her individual style of combining elements of color and light. In addition to studying at Art Center College of Design she was awarded the Digital Fabrication Residency.
Cahill has lectured at the Collage Artists of America and her work is held in private collections internationally.

I will always be drawn to people. Having come from a small but diverse town in the San Gabriel valley near Los Angeles, I want my work to reflect the ethnic diversity that has always been part of my experiences and reality that often times I do not see being represented in popular media. My influences stem from cinema and editorial print. Stories, emotions and ideas captured in a single frame draw my attention. I start with simple ideas and build layers incrementally from there. Including a person of color adds another layer itself because it immediately differs from the mainstream. We are all different, and I love photographing that. I am based in the Los Angeles neighborhood of Echo Park.

Davia King is an abstract expressionist artist who uses bright colors. By layering thin layers of acrylic ink and using water, air and gravity to manipulate the paint she captures a visual interpretation of creative energy. By allowing the composition to take on a life of its own rather than try to force a preexisting idea, each piece is unique and cannot be replicated twice exactly the same way.