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Josh Tatlonghari

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Ernest Concepcion (1977-present)

Concepcion is a studio artist whose work experiments with intense emotion, deconstructing images in his paintings, sculptures, and installations. He creates art like recording a music album, where each painting is from a series of nine. Concepcion describes it as producing an old favorite, a classic, sleeper hit and one piece he doesn't really like but keeps coming back to.

He is a graduate of the University of the Philippines, with a Bachelor in Fine Arts while under the mentorship of pioneer conceptual artist Roberto Chabet. After graduation, he moved to New York in 2002 and spent a significant amount of time in Brooklyn, where he participated in art residences for the Bronx Museum of Art Artists-in-the-Marketplace (AIM) Program, the Artists Alliance Inc. Rotating Studio Program, and the Lower Manhattan Cultural Council (LMCC) Workspace Program.

Concepcion returned to Manila in 2013 with a triumphant solo show at the U.P. Vargas Museum, after participating in the El Museo del Barrio La Bienal in New York. He remains active on the Asian art scene and is a recent recipient of the 13th Artists Award by the Cultural Center of the Philippines.

Ronald Ventura (1973-present)

Ventura is a contemporary artist from Manila, with a Bachelor's degree of Fine Arts in Painting from the University of Santo Tomas. He initially taught in the same school after graduating but found his true calling as a visual artist after his first solo exhibition at the Drawing Room in Makati in 2000. Ventura's work is known to consist of multiple layers, using imagery that focuses on the human form. His paintings are a dramatic union of comic sketches, reality, and graffiti. He draws inspiration from Asian mythology, Catholicism, science fiction and comic book characters. He is known to have the highest selling work in the history of the Southeast Asian art market: his painting Grayground sold for a whopping $1.1 million USD at an auction in Sotheby's Hong Kong.

Leeroy New (1986-present)

Initially trained as a sculptor, Leeroy's work blends theatre, fashion, film, production design, and public art. He graduated from the prestigious Philippine High School for the Arts, before continuing his Fine Arts degree at the University of the Philippines. He has received artist residences in Singapore and Australia and was awarded the 13 Artists Award by the Cultural Center of the Philippines in 2014. His large-scale public art uses common objects and materials found in everyday environments.

In the sand dunes of Paoay, Ilocos Norte, Leeroy collaborated with the local government to convert discarded water tanks and cement fountains into a post-apocalyptic park filled with sculptures. His most recent grant from the Burning Man Global Arts foundation was used to transform the most polluted waterway in Manila, the Pasig River, with floating installations - challenging views on the environment.

Oscar Villamiel (1953-present)

Born in Caloocan City, Manila, Villamiel is a multimedia artist known for his large-scale installations consisting of objects found in local communities. His art career may have started later in life, but his installations have enthralled audiences for the past decade. He initially worked as a set designer for television, a leather bag craftsman and a successful t-shirt company entrepreneur before holding his first solo exhibition in 2006.

He once filled a room with thousands of bullhorns in his show Mga Damong Ligaw (' Wild Weeds ') in 2014, at the Light and Space Contemporary in Fairview, Manila. The bullhorn installation was made to look like a terrain of weeds when viewed at a certain angle. Villamiel's work reflects the current socio-political situation in the country, highlighting elements of poverty, consumerism, and religion. His massive installation Payatas, which features thousands of doll heads, was chosen to represent the Philippines in the Singapore Biennale exhibition in 2013. It took him two-and-a-half years to finish this work.

Dex Fernandez (1984-present)

Another Caloocan native, Dexter practices a variety of mediums ranging from painting to street art and animation. He most recently participated in art residency programs in Lir Art Space, Yogyakarta, Indonesia (2013), Asian Cultural Council in New York, Fine Arts Work Center, Massachusetts (2015), and Ongoing Art Center, Tokyo (2016).

His work is influenced by pop culture, graffiti, children's drawings, and tattoos - creating pieces that challenge people's views on fine art. He is known locally for his on-going series of Garapata street art (the Tagalog word for 'tick'), filling public spaces with the notion of 'infecting' the city with his art.

Fernandez has exhibited extensively in top galleries in the Philippines and abroad, including in Paris, New York, and the Singapore Biennale. He recently participated in the Melbourne Art Fair 2018 with fellow Filipino, Melbourne-based artist Diokno Pasilan.

Neil Pasilan (1971-present)

Brother to artist Diokno Pasilan, Neil is a Bacolod-born artist from a family of craftsmen and boat builders. He is a self-taught visual artist who displayed creativity as a child. Pasilan has moulded clay figures for most of his life and continues to use this in his work.

Currently based in Manila, he has become known for his paintings that hold multiple layers, using different mediums to expose new forms. Pasilan's work has been represented by the Drawing Room of Manila, Artinformal Gallery, and West Gallery. A notable collaboration with Raffy Napay was featured in Art Fair Philippines in 2017.

Kawayan de Guia (1979-present)

This Baguio-born artist is son to legendary filmmaker Kidlat Tahimik and German artist Katrin de Guia, and was mentored by famous Baguio artists BenCab and Santiago Bose. Kawayan's art contemplates the Philippines' changing urban culture. He illogically arranges texts and icons to compose a painting, depicting the human form in new ways. His work draws from popular culture, the media and mass consumerism. He also creates sculptures and massive art installations - such as his Bomba series - and blings out discarded Jukeboxes.

In 2011, he initiated the Ax(iS) Art Project, promoting the local artist community in the chilly hill station of Baguio and the Cordilleras. Kawayan has held numerous solo exhibitions in the Philippines and abroad. He was a guest curator for the Singapore Biennale in 2013.

Patricia Perez Eustaquio (1977-present)

Eustaquio is an artist who works in various mediums, experimenting with different materials through installation, drawing, and painting. The frames from her painting are cut, resulting in canvases that evoke images of wilted flowers and carcasses. Her sculptures are fashioned from fabric, covering objects with resin-treated silk or crochet. The object is then removed, to allow the fabric to retain its position, folds and drapes. Her work examines the ideas of perception and memory. Eustaquio's solo exhibitions have been held in Manila, New York, Taiwan, and Singapore. In 2016, her site-specific installation was featured in the Palais de Tokyo in Paris.

Martha Atienza (1981-present)

Born to a Dutch mother and Filipino father, Atienza continues to live both in the Philippines and Holland. After receiving her Bachelor in Fine Arts from the Academy of Visual Arts and Design in the Netherlands, she accepted residency grants from England, Australia, New York and Singapore. Her video art reflects snapshots of reality and the environment drawn from her Filipino and Dutch roots.

She is currently interested in using contemporary art as an aid to bring about social change. In 2017, she won the Baloise Art Prize at Art Basel International Fair for her video installation Our Islands, 11°16`58.4" 123°45`07.0"E., which shows a traditional Catholic procession from the Philippines under water.

Elmer Borlongan (1967-present)

The Manila-based artist often refers to Filipino culture in his paintings, drawing from everyday scenes of local urban life, which sharply depict an imperfect world. Borlongan's work is a favorite among collectors and at auctions. In his first major work, Rehimen (1988), he uses bold brushwork to manipulate the Marlboro emblem, which is guarded by a pack of dogs as an emaciated figure lays in despair in the foreground. The painting represents the marginalized Filipino people who are living in poverty, with no way of moving forward. In February 2018, Borlongan celebrated a retrospective of 25 years in art, showcasing more than 150 paintings and 50 drawings featured in the Metropolitan Museum of Manila.

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10 Contemporary Filipino Artists to Know

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Ernest Concepcion (1977-present) Concepcion is a studio artist whose work experiments with intense emotion, deconstructing images in his paintings, sculptures, and installations. He creates art like recording a music album, where each painting is from a series of nine.

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The Artist Who Drew Himself on Drugs Is Actually Way More Experimental

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Torture, silence, love, and drugs are just a few of the mediums Bryan Lewis Saunders works with.

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Syed Haider Raza | KUNDALINI (2011) | Available for Sale | Artsy

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Available for sale from Aicon Gallery, Syed Haider Raza, KUNDALINI (2011), Acrylic on canvas, 47 × 47 in

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Alex Fischer - 94 Artworks, Bio & Shows on Artsy

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He makes many famous paintings of women and their roles as mother.

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Mahesh Pal Gobra - Famous Indian Artist, Mahesh Pal Gobra Paintings | Mojarto

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Paintings by famous Indian artist Mahesh Pal Gobra on Mojarto. Browse the list of wonderful artworks created by artist Mahesh Pal Gobra.

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Cindy Sherman has transformed herself into countless fictional figures like movie stars, clowns, victims, ingénues, predating contemporary obsessions with self-representation.

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Cindy Sherman - Biography, Shows, Articles & More | Artsy

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Discover and purchase Cindy Sherman's artworks, available for sale. Browse our selection of paintings, prints, and sculptures by the artist, and find art you love.

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Canadian Artists

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Born in Regina in 1977. Lives and works in Montreal.

Jessica Eaton's photographs dissect chemical and optical phenomena, the materiality of film, and the language of light itself. Eaton came to international acclaim through her Cubes for Albers and LeWitt (commonly referred to by the acronym cfaal)-a series of vibrant photographs that deconstruct her studio practice. Like the majority of Eaton's works, these optically charged images are made by taking multiple in-camera exposures of common studio supplies. Through her abundant use of traditional analog photography practices-such as colour-separation filtering and in-camera masking-Eaton imbues her large-format images with an aesthetic more reminiscent of the paintings and drawings of hard-edge geometric abstraction than the photographs of traditional studio work. Jessica Eaton received a BFA from Emily Carr Institute of Art and Design in 2006. She has shown across Canada and internationally, including at Presentation House Gallery, Foam Fotographiemuseum, the Quebec Triennial and the Daegu Photo Biennale. In 2015 she completed a commission for Vancouver's Capture Photography Festival on the facade of B.C. Hydro's Dalgrauer Substation building.

Photo of Jessica Eaton in her Montreal studio, September 2012, by Roger LeMoyne from the Winter 2013 issue of Canadian Art.

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Born in Regina in 1977. Lives and works in Montreal. Jessica Eaton's photographs dissect chemical and optical phenomena, the materiality of film, and the language of light itself. Eaton came to international acclaim through her Cubes for Albers and LeWitt (commonly referred to by the acronym cfaal)-a series of vibrant photographs that deconstruct her studio practice.

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She's a Canadian contemporary artist. She is best known for her abstract paintings and Formica and Plexiglas sculptures. She lives and works in Brooklyn, NY.

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His signature styles of stitching, tufting, and weaving thread and scrap fabric onto canvas has already been knitted into the Filipino art scene. Napay gives a new depth to wall-mounted canvases-a totally different dimension from paint-with intricately sewn, uneven fringes of colourful fibers.

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(SPOT.ph) Art Fair Philippines 2016 is back and we know you're as thrilled as we are. Trust us when we say it will blow your mind as you overdose on Philippine contemporary art-in a way you will absolutely love. As the fair draws nearer, we'll keep you in the know on what's in store at this year's Special Exhibits.

Meet Raffy Napay, one of Art Fair Philippines 2016's featured artists.

Also read:
Sneak Peek: Art Fair Philippines 2016 is bigger and more exciting than ever Art Fair Philippines 2016: Artists to Watch

As the middle son of a tricycle driver and a seamstress, Raffy Napay grew up joining art competitions and painting with oils to help with his family's day-to-day needs. One of his early paintings made it to the finals of the Philippine Art Awards in 2008, but after a while, he started feeling suffocated from the funk of working with oils in his confined working space.

He has always loved creating art and has managed to make do with what was readily available. In his drive to submit a piece for the 2010 Philippine Art Awards, Napay asked his mother to teach him how to sew. That's when he found a new friend in thread-along with the endless possibilities it laid before him as an artist. His work, "Ang Mananahi ng Buhay at ang Makinang na Makina," a portrait of his parents done with crisscrossed, layered stitches on canvas, earned the nods of the jurors.

Since then, thread became Raffy Napay's medium of choice. "I felt my options-the styles that I could adopt as an artist-expanded with the use of thread and fabric. Walang limitations. I've always been experimental anyway, always wanting my succeeding works to rise to a level above the previous ones," Raffy told Town&Country in 2014.

As artistic mediums, thread is to oil as paint is to water; they are incomparable. You must not look at seams as a substandard replacements for pigment. Napay's body of work involves meticulous attention to detail. It starts off slow and meditative, executed one stitch at a time-fastidious until it gives birth to a piece of symbolic expression.

His signature styles of stitching, tufting, and weaving thread and scrap fabric onto canvas have already been knitted into the Filipino art scene. Napay gives new depth to wall-mounted canvases -a totally different dimension from paint-with intricately sewn, uneven fringes of colorful fibers. The required skill is very technical, that's one way of looking at it. Or one could see that his creations are the extension of the canvas (it's made of thread, after all). The artist stretches these simple materials to express his personal journey and in the process tells a visual story.

In 2013, Napay won the Ateneo Art Awards with his exhibit composed entirely of creations from thread and patches of cloth, Thread Experience. This earned him a residency grant in Liverpool Hope University, England. He's also a recipient of the 2015 Florence Biennale's International "Lorenzo il Magnifico" Award for Textile Art.

Stay tuned as we tell you more about the featured artists' bright minds as we move closer to Art Fair Philippines 2016!

Also read:
Sneak Peek: Art Fair Philippines 2016 is bigger and more exciting than ever Art Fair Philippines 2016: Artists to Watch
Art Fair Philippines 2016 is happening from February 18 to 21, 10 a.m. to 9 p.m. at 5/F to 7/F The Link, Ayala Center, Makati City. For more information, visit Art Fair Philippines' website.

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Artist Profile: Raffy Napay weaves breathtaking works of art

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(SPOT.ph) Art Fair Philippines 2016 is back and we know you're as thrilled as we are. Trust us when we say it will blow your mind as you overdose on Philippine contemporary art-in a way you will absolutely love. As the fair draws nearer, we'll keep you in the know on what's in store at this year's Special Exhibits.

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Jesse Harrod produces both large and mid-scale installations and sculptures out of what I call “femmy detritus”: brash, colorful, and lowbrow materials – including sequins, fringe, and sculpey – conventionally associated with hobby crafts and domesticity.

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A large-scale sculpture that doubles as a wall that supports a series of posters for a fictitious band called Vagina ToucHers. Layering the faux upon the fictitious, Harrod's installation highlights the blur between surface and depth, enacting and unworking the

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Meredith Woolnough's elegant embroidered traceries capture the delicate beauty of nature in knotted embroidery threads. Through a delicate system of tiny stitches she creates intricate and complex openwork compositions that are then carefully pinned in shadowboxes, just like preserved specimens.

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The logarithmic spiral is found across the natural world. You will see this spiral curve in the chambers of a nautilus shell, in an unfurling fern frond, in the centre of a sunflower or in the swirling eye of a storm cloud.

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A Japanese balloon artist.

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Frank Myers' digital painting called Eric deutsch band

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Jason gluskin and his painting called The Jazz Trio

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Yesterday we brought you Christo Guelov, a Bulgarian artist who's transforming the streets of Madrid with his playful crosswalk designs. Now we'd like to introduce you to Raquel Rodrigo, a Spanish artist and set designer who is also adding her own colorful touch to Spain's streets by turning them into beautiful floral cross-stitch installations.

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Cross-Stitch Street Art In Spain by Raquel Rodrigo

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Yesterday we brought you Christo Guelov, a Bulgarian artist who's transforming the streets of Madrid with his playful crosswalk designs. Now we'd like to introduce you to Raquel Rodrigo, a Spanish artist and set designer who is also putting her own colorful touch on the Spanish capital by turning its streets into beautiful floral cross-stitch installations.

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Aida Gomez - Art work "Home is where your heart is"

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Aida Gomez - Art work "Home is where your heart is"

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Josh Tatlonghari

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Josh Tatlonghari

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One day while I was lurking around on Pinterest, I came across these amazing photos of large-scale cross stitch in public spaces. So you just know I had to find out more and tell you about it! The artist, who is in Germany, goes by the name Miss Cross Stitch. She has a blog, misscrossstitch.wordpress.com, with updated photos and stories (you'll have to use Google translator) about the public pieces she's stitched on public structures like benches and fences from Berlin to Zurich.

Miss Cross Stitch was a student of fashion and jewelry design who has embroidered, stitched and knitted since childhood. "But," she said, "through the years it was interesting for me to take these techniques and give them a modern context, to show that craft can be more than grandma's crocheted tablecloth. And ... what would be better than to do this than in public spaces?"

I was lucky enough to ask her a few questions, and here's what she said.

Julie: What do you call the work that you do? I wondered if there was a name for it, like what yarnbombing is to knitting.

Miss Cross Stitch: I call the work I do "Street Embroidery," a mixture between street art and embroidery. Since I haven't perceived an official name for it, most of the time people just call it yarnbombing.

JJ: Tell us about the moment you thought of embroidering public spaces.

MCS: At that time I was working in the industrie and we designed a modern product line with DIY bags, pillows ... on the way [to work] driving in my car, I looked at a park bench (with a metal grid) and thought, "That looks like a textile made for embroidering, why not embroider in a public space?"

JJ: Is this a movement or are you the first to do this?

MCS: I don't think it's really a movement - before I did it, I didn't know anyone else who was doing this. But two years [after I started], I got an email from a girl from Barcelona (Alicia), who had also embroidered bins and a fence.

JJ: Great! Did she send you photos? Were you excited to see you were not alone?

MCS: Yes, she wrote me an email with photos and I was really excited about how she interpreted the theme of embroidering in public spaces. May be the beginning of something bigger ...

JJ: How do you choose a good site to stitch - what works well and what doesn't?

MCS: My criteria for choosing a place is that it should be a place were many people could see it, but it also a place where I can work without being disturbed by the police. [When I did] the roses in Berlin I needed six hours to embroider them. Also it should be a nice place, so people [enjoy sitting] there afterwards.

JJ: What is most odd location you've stitched? What is your favorite?

MCS: Once I tried to embroider a park bench in the pedestrian area of Stuttgart, and when we finished half [of it] a policeman came and began [talking to] me; in the end I had to remove the thread. My favorite place was the park in Berlin, because many people [saw] me and asked if I was an artist; they were really surprised [with the work].

JJ: What materials do you use?

MCS: In the beginning I used self-dyed cotton rope, now I use polypropylene rope because it's much more resistant against water and sun.

JJ: What do you enjoy most about it?

MCS: The thing I enjoy most is seeing the smiles on the faces of the people passing by.

JJ: What's next? What other tricks do you have up your sleeve?

MCS: I'd like to embroider a bench completely, but it's a little bit tricky to find such a grid bench [in a place] where I'm allowed to work. This summer I was in Sweden, but what a pity - they don't have the grid benches I need there!

JJ: Well, I'll be watching your blog to see what you think of next! Thanks so much for talking to us and best of luck on your next project!
About the author:
Julie Jackson is the creator of Subversive Cross Stitch and Kitty Wigs.

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One day while I was lurking around on Pinterest, I came across these amazing photos of large-scale cross stitch in public spaces. So you just know I had to find out more and tell you about it! The artist, who is in Germany, goes by the name Miss Cross Stitch.

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Josh Tatlonghari

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Through the unlikely combination of hip hop and cross stitch art, Calgary born artist Dave Lieske fuses traditional craftwork and pop culture. Whilst studying at the Alberta College of Art and Design, Dave began to experiment with embroidery and hit upon this novel approach.

In our interview 'Davey Gravy' talks about his background in graffiti and how this has influenced his textile art.

Breaking the rules
TextileArtist.org: What initially captured your imagination about cross stitch?
Davey Lieske: Much like tattoos, graffiti, woodworking, etc, there are traditional stylised images that I saw the opportunity to modernise and appropriate. I was very intrigued with the idea of using hundred of small coloured stitches to create a larger image, much like a mosaic. I saw it very accessible because it required very little training and materials.
What or who were your early influences and how has your life/upbringing influenced your work?
In high school I was introduced to the hip hop and graffiti culture. By meeting other like-minded individuals and attending events, I learned that art (in any form) could carry a message. I love the process and guidelines involved in graffiti, where you take a word, add some structure and extensions, add 3D or a drop shadow, then give it a fill and a background. Once you get good at this, you can experiment and break some "rules". Graffiti has been around for decades, but the pieces and artists that interest me the most are those that take the traditional style and put their own spin on it.
What was your route to becoming an artist? (Formal training or another pathway?)
After high school, I knew I didn't want to work in an office or go into a trade and decided to give art school a try with the hope of developing my painting and drawing skills while learning some art history. Art school taught me much much more than that. It gave me a chance to give and receive critiques, a space and a time to create, and a place to experiment and try new things without judgment.

Lightheartedness and humor
How would you describe your work and where do you think it fits within the sphere of contemporary art?
It is juxtaposition between traditional cross stitch art/embroidery and contemporary hip hop. I believe it fits in the low-brow, pop surrealism scene. I feel the audience is anyone who buys a cd, picks up a magazine, or flips on the tv. We are so flooded with pop culture that it is difficult to ignore or connect with in some way.
Tell us a bit about the environment you like to work in?
Part of the reason I love cross stitching so much is that it's portable. I keep whatever piece I'm working on in a Ziploc bag and carry it everywhere in my backpack. My patterns are usually created in my studio where I have all my supplies, frames, and inspiration. When I'm actually stitching, I'll be parked on my couch in front the TV. The actual stitching portion can be repetitive and I need some background noise.
You've taken quite a traditional medium and fused it with very contemporary themes - is this juxtaposition intentional and what is its message?
I don't want to give away too much of my message, but the juxtaposition is intentional. Pop culture is very specific about gender roles and what a man should look like. Late 90's and 2000's hip hop was notorious for depicting men as musclebound tough guys who carried weapons and treated women as sex objects. These are the same rapper's who are shirtless and oiled up in their music videos which are aimed at a male audience. Hip hop is full of gender role reversal and humor. My work is my interpretation of what I hear and see. I intend to show respect and admiration as well as lightheartedness and humor.

Patience and dedication
How do you seek out subjects for your work?
My subjects are musical artists that I respect and admire their craft. Lately I've been trying to work in series; where 2 or more pieces share the same context. Whether its black and white, songs about crime, or borders with flowers, this method helps me create more cohesive pieces, and often pieces that wouldn't otherwise get made.
Tell us about a piece of work you have fond memories of and why?
One piece I really enjoyed making was "Tha Doggfather". It was the final piece I made before graduating from art school. It was back before I embraced computer programs to make my patterns. I had ten days to hand make the pattern and complete the stitching. Somewhere in the middle of it I got the flu for two days. The whole piece took me 60-65 hours, I'm happy with how it turned out.
What advice would you give to an aspiring textile artist?
Don't give up! Textile work is not for everyone, especially those without patience. Patience and dedication are important if you want to create a masterpiece.

Resources
Can you recommend 3 or 4 books for textile artists?
Embroidered Effects: Projects and Patterns to Inspire Your Stitching - Jenny Hart The New Cross Stitcher's Bible - Jane Greenoff Complete Guide to Needlework - Readers Digest

What piece of equipment or tool could you not live without?
My laptop. Patterns can be created in minutes rather than hours. I can digitally store patterns and photos of completed pieces. The internet is a great resource for discovering new artists, different styles of pattern making, and gathering inspiration.
Where can readers see your work this year?
I'm working towards my second solo show and aiming for it to be in Los Angeles. I'm always applying for features in magazines and shows here and there. My work can always be viewed on my website, www.daveygravy.ca, and my Instagram account @davey_gravy.
To find out more about Dave Lieske visit www.daveygravy.ca.
If you've enjoyed this interview, why not let us know by leaving a comment below?

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Dave Lieske Interview: Hip hop cross stitch art

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Through the unlikely combination of hip hop and cross stitch art, Calgary born artist Dave Lieske fuses traditional craftwork and pop culture. Whilst studying at the Alberta College of Art and Design, Dave began to experiment with embroidery and hit upon this novel approach.

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Norberto "Peewee" Roldan is a multi-media artist and curator, and currently the artistic director of Green Papaya Art Projects, a multi-disciplinary platform founded in 2000. He has worked at the forefront of cultural artistic practice in the Philippines, having founded the seminal artists group Black Artists in Asia in 1986 (a Philippines-based group focused on socially and politically progressive practice), and initiated the longest-running VIVA EXCON Biennale in the Visayas region. Norberto Roldan’s work offers commentary on the social, political, and cultural conditions of the Philippines. The artist works with found objects, such as old photos and magazine clippings. His materials are drawn from everyday life, and deal with contemporary issues informed by history and collective memory.

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A prominent contemporary art figure in Mali, Abdoulaye Konaté’s works are a striking combination of installations and paintings. After pursuing a degree at the National Art Institute of Bamako, Konaté completed his studies in Cuba. Most of Konaté’s large-scale works are in the textile arts – an inexpensive and readily-available material in Mali. Treating textiles as a limitless palette, Konaté dyes, cuts, sews, and embroideries scraps of cotton and traditional bazin fabric to produce his signature monumental tapestries.

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Amanda McCavour is a Toronto-based artist who works with stitch to create large-scale embroidered installations. She is interested in thread’s assumed vulnerability, its ability to unravel, and its strength when it is sewn together.

McCavour uses a sewing machine to create thread drawings and installations. By sewing into fabric that dissolves in water, she can build up stitched lines on a temporary surface. The crossing threads create strength so that when the fabric is dissolved, the thread drawing can hold together without a base. With only the thread remaining, these images appear as though they would be easily unraveled and seemingly on the verge of falling apart, despite the works raveled strength.

Through an exploration of line and its 2-d and 3-d implications, stitch is used in her artwork to explore various concepts such as connections to home, the fibers of the body and more formal considerations of thread’s accumulative presence. Amanda’s work explores embroidery’s duality- it’s subtle quality versus it’s accumulative

presence and its structural possibilities versus its fragility. Through experimentation and creation within her studio, she continues to investigate line in the context of embroidery, drawing and installation.

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"Debbie Smyth is textile artist most identifiable by her statement thread drawings" (United Kingdom)

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The word 'embroidery' comes with baggage; more often than not it evokes images of crocheted tea towels and tw

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Japsimarp. Kaur- Jill and Sheldon Bonovitz

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Embroidery and identity come together in Philadelphia Museum of Art phulkari show

Andrea takes in a show of phulkari, richly embroidered decorative textiles made in the region of Punjab. They attest to the incredible skill and dedication of the women who made them, and continue to evoke the distinct identity of the region despite its partition between India and Pakistan.

The darkened gallery of the Perelman building at the Philadelphia Museum of Art (PMA) which houses Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection provides an ideal setting for the splendid, richly colored textiles on view. Phulkaris are made with imported silk thread, hand-embroidered on home-made simple, cotton-handwoven and usually dyed dark colors such as red, brown, golden tan, and a blue so dark that it approaches black. They were worn by women as outer wraps on special occasions and used as blankets, wall hangings, and wrappers for sacred objects. The exhibition presents them both on mannequins, as they would have been worn, and covering the gallery walls.

Embroidery and identity

Phulkaris were produced by women and became an important part of a bride's dowery. They were begun as soon as a girl was born, by her mother, grand-mother, or aunts, and could take as long as three years to produce, sometimes with multiple women working on a single textile. Older phulkaris became part of a family's valued possessions and were handed down for generations. Some are figurative, with illustrations of everything from the daily activities of village life, modern inventions such as train travel, circus scenes and wedding jewelry, to religious shrines. Others are abstract, and some of the designs, a style termed Bagh, have small-scale patterns which cover the entire cotton ground with the expensive silk thread, creating the impression of finely woven jacquards. The idea of using hand embroidery to achieve the effect of weaving-an available technology-is quite astonishing. It indicates the availability of willing and highly skilled female labor.

My favorites are the more naive designs illustrating aspects of village life. Many of them create sophisticated figure/ground patterns of people and animals drawn to varying scale and to various orientations of the fabric. They portray people riding trains, dancing, and performing religious rituals, women spinning cotton and churning butter, men conducting business, riding elephants and camels, walking dogs, playing musical instruments, and carrying goods that hang from a yoke across the shoulders. A variety of birds and animals wander throughout the activities.

Made for movement

Almost all the phulkaris employ a bright and warmly colored palette primarily consisting of browns, oranges, golds, red, and shocking pinks which give the genre a recognizable identity. The glisten of the silk threads must have been part of the intended effect when they were used as garments, since all the examples on view show a long drape of fabric that would have swayed with the wearer's movements. I would love to see them as worn, and the only hint is provided by a video of a fashion show by the designer Manish Malhotra, who has revived an interest in phulkari, which he uses in combination with other fabrics. Two of his designs are also on view but in order to see the video, placed almost on the ground, you'll have to sit on the floor-as I did.

Partition and phulkaris

The textiles on view betray a range of technical skill in both the stitchery and designs. Some show a sophisticated ability to render forms and were obviously transferred from patterns, while others seem to have been made up as the embroiderer went along. It is hard to believe that the precision of stitching in the Bagh phulkaris weren't made by professional craftsmen. There is no surviving literature that would indicate how designs circulated-indeed, there is almost no surviving history of phulkari in general, hence the significance of this collection and its catalog.

These textiles are inevitably tied to the history of the Punjab, which was violently split in 1947, with the establishment of the state of Pakistan. The division of the Punjab resulted in huge loss of life and a large group of exiles who have settled around the world. The exhibition's introduction sets the history and fate of phulkari within the geography and history of their origin; this is explored in depth by Darielle Mason in the handsomely illustrated exhibition catalog, which also includes an essay by Cristin McKnight Sethi. There are multiple stories of phulkari history, and sources and influences for their stitchery and overall designs, which vary according to the vested, political interests of the tellers. We have to be grateful that some of the pre-Partition textiles survive, offering their material properties as the only certain evidence of their history.

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Embroidery and identity come together in Philadelphia Museum of Art phulkari show

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The textiles on view betray a range of technical skill in both the stitchery and designs. Some show a sophisticated ability to render forms and were obviously transferred from patterns, while others seem to have been made up as the embroiderer went along. It is hard to believe that the precision of stitching in the...

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https://www.google.ca/amp/s/artisangems.wordpress.com/2008/08/22/ben-orron-organic-mechanics/amp/https://www.google.ca/amp/s/artisangems.wordpress.com/2008/08/22/ben-orron-organic-mechanics/amp/

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The southern patio of a friend, a school studio and later large loft spaces allowed me to develop a body of work from the Miniatures to 3-story high walls of braided or knotted rope.

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Faith Ringgold and her piece Jazz stories somebody stole my broken heart

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Nathan Sawaya is an award-winning artist who creates awe-inspiring works of art out of some of the most unlikely things. His global touring exhibitions, THE ART OF THE BRICK, feature large-scale sculptures using only toy building blocks: LEGO® bricks to be exact. His work is obsessively and painstakingly crafted and is both beautiful and playful.

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Germaine Koh is a Malaysian-born internationally active Canadian conceptual artist.

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317 Dundas Street West Curator, Michelle Jacques discusses contemporary art's engagement with textiles through a look at Germaine Koh's lifelong piece, Knitwork. +++ research, direction, writing, production: Camille Turner + Michael Alstad videographer & editor Barbara Greczny http://www.txtilecity.ca +++

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Aze Ong elevates the craft of crocheting to more than table spreads or bed covers. Her colourful crochet creations vary. She also does performance art with her crochet pieces during exhibit openings.

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American artist who is known for knitting, patchwork, needlepoint and painting/
http://www.kaffefassett.com/

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Caitlin Freeman, pastry chef for Blue Bottle Coyee (the self-taught kind, we might add), showcases her pastry arts in the cafe at San Fransisco’s Museum of Modern Art.

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Arsham is a new york based artist whose works are based on architecture and performance art

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New York based artist Daniel Arsham straddles the line between art, architecture and performance. Raised in Miami, Arsham attended the Cooper Union in New York City where he received the Gelman Trust Fellowship Award in 2003. Architecture is a prevalent subject throughout his work; environments with

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Icelandic artists whose medium is hair.

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The Chromat Autumn/Winter 2015 Collection was influenced by and expands upon the concepts of Martine Rothblatt's post-human Mindfiles which anticipates an entirely (wo)man made, synthetic world of bionic prosthetics.

In this world, garments function as artificial augmentation and enhancements of the human body. The materials used to create the AW15 Collection are all simulations of biological materials: latex simulating skin, Swarovski simulating diamonds/gems, synthetic hair simulating organic hair.

Chromat designed and created several pieces in collaboration with Icelandic sculptor Hrafnhildur Arnardottir aka Shoplifter, who has created a diverse body of work which incorporates synthetic and natural hair in all forms. "Shoplifter has worked for several years exploring the use and symbolic nature of hair, and its visual and artistic potential. For Shoplifter hair is the ultimate thread that grows from our body. Hair is an original, creative fiber, a way for people to distinguish themselves as individuals, and often an art form."

Shoplifter, along with fellow Icelander and stylist Edda Gudmundsdottir who styled the Chromat runway show as well as co-designed the hair pieces, has previously collaborated with Bjork on several occasions. Bjork's 'Medulla' album cover art incorporated Shoplifter's hair sculptures that translated the idea of utilizing the body as an instrument to create music.

Bjork's Medulla Album

Sculptures from 'Imaginary Friends'

Shoppy and her family

Photo by Julian Jesus

The AW15 Chromat collaboration features pieces made with hand pulled and braided synthetic hair. Together, Chromat, Shoplifter & Edda developed a total of five wearable hair sculptures including the Shoplifter Garter Cage Bustier, Peak Crown, Jessica Rabbit Dress, Braided Pentagram Face Cage, and Braided Harness Bustier.

Shoplifter Garter Cage Bustier

Shoplifter JB Dress + Peak Crown

Shoplifter Braided Pentagram Face Cage + Harness Bustier

Photos by Getty Images

Shoplifter backstage at the Chromat AW15 Runway Show

Photo by Atisha Paulson for Nylon Mag

Check back soon for our next Chromat Collaboration feature!

Chromat Collaborators | Shoplifter

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The Chromat Autumn/Winter 2015 Collection was influenced by and expands upon the concepts of Martine Rothblatt's post-human Mindfiles which anticipates an entirely (wo)man made, synthetic world of bionic prosthetics. In this world, garments function as artificial augmentation and enhancements of the human body.

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Amiri is an Afghan-Canadian artist whose works is about representational realism and abstract realism

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Huang’s breakout film "
"Doll Face" inventive and unsettling, acting as a searing (if not exactly subtle) critique of the influence TV has on our self-image.

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http://www.andrewthomashuang.com A machine with a doll face mimics images on television screen in search of a satisfactory visage. Doll Face presents a visual account of desires misplaced and identities fractured by our technological extension into the future.

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Orly Genger is a contemporary American sculptor. She currently lives and works in New York. Genger received a Postbaccalaureate degree from the Art Institute of Chicago in 2002 and graduated from Brown University with a BA in 2001.

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Orly Genger: Red, Yellow and Blue in Madison Square Park

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Bringing a nautical feel to Madison Square Park, New York-based artist Orly Genger's Red, Yellow and Blue is splashing the park with the primary colors throughout the spring and summer. Blouin ARTINFO spoke with the artist about her installation.

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a canadian artist who works with balloons

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A Filipino artist whose works are inspired by rock n' roll.

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- - Costantino Zicarelli belongs to the new generation of artists whose paintings are difficult to like but harder to ignore. His art differs from the standards as he chooses to paint the deviant and morose. With his art, Costantino Zicarelli hopes to change how viewers look with disfavor and antipathy paintings that are not eye candies. His works reflect his belief that an artist must be bolder in his stance and subjective feelings and emotions must be given priority than reality or nature objectively. In this interview, Costantino Zicarelli talks about his art, his boredom with his brief stint as a graphic artist, his way to success and his views and adventures as a young artist. December 2008

Pedro Ubaldo Ain't Holy Anymore
60 x 48 inches, oil on canvas
2007

I wanted to have a career in painting but I needed money for materials, so I did some jobs as a graphic artist and teaching arts to young students. But while I was doing these things, I was always involved in group exhibitions.

Paradiso
60 x 48 inches, oil on canvas
2007

*

Yup it was. I've always wanted to draw comics and at that time I was a real comic book geek.

I think in the whole batch I was the only one who pursued a career in painting. And to think I was an advertising major.

Rompi Pame Automatico
30 x 23 inches, mixed media on paper
2007

I think all the young professors I was under were all exhibiting but I was really influenced by Wesley Valenzuela, Buen Calubayan, Mark Salvatus and Jaime Pacena. They really inspired me to paint and because of them I attended as many shows that I could.

Yes but it will look like crap or maybe he was born a genius.

Lovers Finding and Understanding
48 x 36 inches, oil on canvas
2007

What does your early works look like? Do you still have them with you?

Really crappy paintings which now I think are all destroyed. Some I gave away.

Just really good works.

It was pretty successful. I sold some works and had offers from other galleries to exhibit.

A Black Perception of A Ghost
36 x 48 inches, oil on canvas
2008

How do galleries invite young artists like you to exhibit in their gallery? Do they make an offer? Can an artist refuse an invitation?

They jut asked me if I can have a show in their space. It's really hard to refuse an invitation and I was an upcoming artist at that time so if a gallery asks me to do a show, I would immediately say yes. (laughs)

(I haven't done anything for her yet). (laughs) I'm too busy.

A White Perception of A Ghost
60 x 72 inches, oil on canvas
2008 I just wanted to do different things. It's not like I'm going to paint forever. I also got a few ideas that do not involve paintings.

Words and Events of a Tragic Family Portrait (diptych)
48 x 60 inches each panel, oil on canvas
2008

Are you exclusive in any gallery?

No but I would like to one day.

I'm Looking Forward To Joining You, Finally
48 x 36 inches, oil on canvas
2008

Why so?

If you are exclusive to one gallery, you won't be able to have a show in other galleries or even join other group shows. But for now, I try to restrict my shows to only two galleries to limit the number of my works and also to not be over exposed.

Have you had any unforgettable experience with any of the galleries here?

The only bad experience I can think of for all artists is if they feel they are cheated on the sales of their artwork. (laughs) So far I haven't had any story to contribute to that. The only thing I know is that a gallery gets jealous of a work I did for another show.

How did you go about with your first exhibit? How did you plan for this?

I had no idea what to do but I accidentally found this box of pictures of my father's family. It was interesting how the pictures looked and I thought that this would be fun to paint, so I did.

Destroyed History, Destroyed Room
96 x 60 inches, oil on canvas
2008

For your first exhibit, was there a requirement that maybe a minimum of 15 works should be exhibited?

There was no requirement but I was so excited because this was my first real show and it was something really different.

Do you agree that the first exhibit of a painter could make or break his career? Did this apply to you?

Do you remember the first painting that you sold?

It wasn't a painting it was some drawings from my first solo show. My friend bought my three drawings.

Are you a member of any artist group?

Nope, I usually exhibit with the usual people. But I don't call it a group. I hate it when people call it a "group." It tends to sound like a boy band.

God Created The Devil and the Devil Created The Most Beautiful Disaster Piece Ever Made (diptych)
60 x 48 inches, oil on canvas
2008

Who are these usual people?

Tatong Recheta Torres, Alan Balisi, Ian Quirante, MM Yu, mostly the artists from Finale and West Gallery.

Have you ever won any important awards?

Why do you not believe in contests?

People tend to recognize or buy the artist's work not because of the quality but because the artist won some art contest or something.

Do you think awards help in making an artist be commercially recognized?

Yes in a way. But I really don't think it helps. To let people recognize you, you just have to make really good art works or really scandalous ones (laughs).

Stilled Life (diptych)
48 x 36 each panel, oil on canvas
2008

Do you think a painter can commercially become successful without receiving any award?

Yeah, I now lot of people who are famous not because they won an award but because they are just really good.

Is there any award that you wished you have won?

The Turner Prize! It has a big cash award. It's what artists are interested anyway! (laughs)

Yellow Bastards Landscape
Post It installation
2008

What is your view on the National Artist Award?

The government could spend the money on homeless families instead of giving it to an already rich old artist. I have noticed that most of your works are "deviant"? How did this idea come about?

Where do you get ideas for the titles of your works? They are long.

Not all of my titles are long. I just feel that the title I put really fits the painting and the story behind it. Mostly, I get the titles from lines in films or articles that I find related to my paintings.

It Was the Moment That Made It Possible
24 x 30 inches, oil on canvas
2008

At first it was really cheap. I would only buy 2-3 tubes. But for my next show in March it will be fully colored so sobrang gastos ngayon (it has become expensive now) (laughs). I thought of doing something different. (laughs)

Sometimes in Devoir Artshop if I I'm abroad because it's cheaper there so I buy a whole box of paint materials.

In The End The Inevitable Happened
96 x 96 inches, oil on canvas
2008

Do you prefer that your painting is not framed?

I wish my paintings are all framed but they become expensive because of the size of my artworks.

Yes social realism. I don't like the subject or the idea of painting political stuff. I find it really boring and annoying and they keep repeating themselves. Same work, same ideas.

"Him" by Maurizio Cattelan.

Like Paradiso Lik(e) So Lie This
installation, 2006

Jojo Legaspi.

His works are very personal to him and he doesn't care if people hate his works. I like the rawness of his works, the gruesomeness of it.

"Unmistakabli the one lover who made everything possible and yet he failed."
72 x 60 inches, oil on canvas
2008

Jayson Oliveria, Manuel Ocampo, Nona Garcia

Maurizio Cattelan, Jonathan Meese, Luc Tuymans and films by Stanley Kubric

There is More To Life Than This Great Big White World
60 x 72 inches, oil on canvas
2008

Costantino Perdro Ubaldo Marquez Zicarelli is an unusual name? (laughs) My dad was an engineer and my mom was a nurse and they have a business together.

09.15.1935/84
48 x 72 inches, oil on canvas
2008

Where were you schooled for your primary and secondary education?

I spent my early days in Kuwait where I was born but we left for Italy just in time before the Gulf War even started. My family was lucky. Then, I grew up in Italy where I did my kindergarten and primary education before leaving for Kuwait again for a year then to the Philippines.

This Catastrophe Will Leave A Mark
36 x 48 inches, oil on canvas
2008

Well at the moment, I'm stuck with painting and could not find time for other activities. (laughs) But maybe next year I'd like to concentrate in teaching students what I learned back in my college days and those I learned from other artists.

Nope I had some work before as a graphic designer and I designed medical label boxes. I was really bored to death in that job.

Still Life (Improvising on the Level of Sarcasm)
36 x 48 each panel, oil on canvas
2008

In my old works, my dad thought I was "anti-christ." (laughs)

We have a house here in Manila but will get a studio this coming week. Wala na space dito sa bahay. (We no longer have a space in the house.)

Hail to this National Anthem
72 x 60 inches, oil on canvas
2008

Never but I have a lot of writer friends who write about art. They usually tell me if they are interested to write about me.

I don't really explain to the gallery or the viewer my works. Sometimes the meaning changes the tone of the show.

Mass (diptych)
60 x 114 inches, oil on canvas
2008

Could you say at this time that you already have a group of collectors supporting your works?

Yeah, it's really flattering that they buy the kind of work I do.

Do you have any idea what type of collector who buys your works?

Mostly the collectors who buy my work are young and wild. (laughs)

Have you had plenty of commissioned works lately? Does it even interest you to do commission works?

Yeah I had some. It's really hard to do commission works, too much pressure. (laughs)

Have you had any bad experiences with your collectors?

Yeah, recently I did this commissioned work that a collector requested. I told him that my work is available in the gallery so he backed out. Kasi gusto niya yata directa sa akin (he wants to buy directly from me.) I don't do that, kawawa yun gallery (I have respect for galleries). But eventually the work that I did got sold so it's ok. (laughs)

Is there a collector who you wish would collect your works?

Yup, the Saatchi guy.

Ghost
30 x 24 inches, oil on canvas
2008

What do you think of the works of the young artists being auctioned? Is it something that you welcome?

Yeah but not now. I think it gives too much pressure to the artist.

I feel a celebrity only to my mom. (laughs). Para makita lang niya that I accomplished something (For her to see that I have accomplished something.) (laughs)

Sympathy for the Devil
60 x 40 inches, oil on canvas
2008

I'm really good at painting over a finish work. (laughs)

I never regret being an artist because it's summer time all day long! (laughs)

Was your first show successful?

What was the first gallery you approach?

For a young artist like you, what does it entail for a gallery to exhibit your works?

Did you apply for any job after school or did you approach any gallery on to carry your works?

When you were a student, what were you painting during those times?

Do you think anyone can pursue a career in painting without a formal education?

During your time in school, who would you consider the professor who influenced you the most?

Who are your contemporaries in school?

Was Fine Arts your first course in college or did you transfer from another course?

Graduating from the University of Santo Tomas in 2005, what was your life like after graduation? Was there a plan for you to pursue painting right away?

THE "DEVIANT" ARTIST: COSTANTINO ZICARELLI
by: Christiane de la Paz

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The Deviant Artist Costantino Zicarelli : Philippine Art, Culture and Antiquities

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December 2008 - - Costantino Zicarelli belongs to the new generation of artists whose paintings are difficult to like but harder to ignore. His art differs from the standards as he chooses to paint the deviant and morose. With his art, Costantino Zicarelli hopes to change how viewers look with disfavor and antipathy paintings that are not eye candies.

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"Influenced by the Surrealists, Cornell took collage into new directions with his pioneering work in assemblage. Cornell lived in New York, daily collecting the materials for his art from the bookshops and antique shops of Manhattan. He is most famous for his intricate wooden boxes, filled with lithographs, colourful birds and other trivia."

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From its roots in European Dadaism in the early years of the twentieth century, shadowing modernism and tracing its way through photography, collage is a medium as diverse as it is politically charged. Emerging as a reaction to the First World War, collage allowed artists to interact with existing materials - anything from newsprint and magazines to maps, tickets and propaganda and photographs - to rip them apart and then reassemble them, creating visually dynamic hybrids.

Coined by Georges Braque and Pablo Picasso, the term 'collage' points towards a medium simultaneously serious and tongue-in-cheek; a technique that is deeply referential of the political world in which the works were produced. Via the assemblage of different objects and images, collage interrogates the fundamental concept of what it is to create art, whilst offering a prismatic reflection of the social change and upheaval of the twentieth century. From the originators and pioneers of the form to more contemporary practitioners, AnOther presents its top 10 collage artists.

1. Hannah H ö Höch's most famous work, effortlessly titled 'Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany', shows her ideals and techniques in synthesis. A collage of newspaper clippings, the work challenges the racist and sexist codes upholding Weimar Germany. Throughout her career, Höch would challenge the marginalised place of women in twentieth century Germany. She drew together fashion magazines, illustrated journals and photography to pioneer a form bent on demonstrating that art itself could be collected from the everyday clutter of modern life.

2. Kurt Schwitters
Unlike the other Dada artists, Schwitters was not based in Berlin, but in Hanover, where he worked until the Nazis exiled him from Germany, when he came to live in The Lake District in England. Throughout his montages, collages and assemblages, Schwitters developed the concept of Merz - 'the combination, for artistic purposes of all conceivable materials' - in which he argued that everyday found objects including wood, plasterboard, wheels, cotton were equal in expression to paint itself.

3. Raoul Hausmann
Friends with Schwitters, Hausmann abandoned painting in 1923 and centred his work on photography. He invented an apparatus known as the Optophone, which turned kaleidoscopic forms into music. As well as sound poetry, Hausmann's oeuvre contains photograms, rayograms and pictograms.

4. Man Ray
Though informally related to the Dada and Surrealist movements, the American artist Man Ray contributed impressively to avant-garde, fashion and portrait photography, in particular with his solarised and isomorphic portraits of Lee Miller. Ray's photomontages play with femininity and form, as in his multiple exposures of Alice Prin, better known as Kiki de Montparnasse, and Dora Maar.

5. Eileen Agar
British artist Eileen Agar was one of the only female members admitted into the Surrealist group on her own artistic terms, and not simply as a model or a muse. Like Höch's, Agar's works are social critiques and show humour and irony. In 'Precious Stones', she superimposes a classical cut-out profile over a catalogue page showing antique jewellery.

6. Joseph Cornell
Influenced by the Surrealists, Cornell took collage into new directions with his pioneering work in assemblage. Cornell lived in New York, daily collecting the materials for his art from the bookshops and antique shops of Manhattan. He is most famous for his intricate wooden boxes, filled with lithographs, colourful birds and other trivia.

7. Nancy Spero
Nancy Spero's engagement with political, social and cultural concerns throughout her career as an artist in New York is best illustrated in her collage on paper 'Notes in Time'. Inspired by Grecian scrolls and the story of Troy, the frieze-like collage is comprised of twenty-four panels, each nine-feet long, punctuated by 96 quotations, including poetry by H.D., and multiple female figures. It is a grand non-narrative celebration of the female form, but also documents a female struggle against political stereotype.

8. John Stezaker
British artist John Stezaker studied at the Slade School of Art in 1973, and went on to produce work which challenged the predominance of Pop art. Stezaker's collages are irreverent; his use of glamourous 1950s portraits, of dapper suited men and Hollywood stars, mashed together with postcards of landscapes and with other faces, has the effect of the uncanny. In 2012, Stezaker won the Deutsche Börse photography prize to a mixed reception, as a few critics questioned whether a conceptual artist - who deals with the destruction of photographs - could win a prestigious photography award, proving that collage as an art form continues to be nothing if not controversial.

9. Jesse Treece
Using vintage magazines and books, Jesse Treece creates surreal and simple works, often using images of space and children to create an inimitable perspective on everyday life.

10. Annegret Soltau
German artist Annegret Soltau constructs collage using photographs of her own face and body, stitched with black thread, confronting explicit issues in an imaginative manner.
Hannah Höch runs at the Whitechapel Gallery from January 15 to March 23, 2014.

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Top 10 Collage Artists: Hannah Höch to Man Ray

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From its roots in European Dadaism in the early years of the twentieth century, shadowing modernism and tracing its way through photography, collage is a medium as diverse as it is politically charged.

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Calvin Quan - Phoebe Washburn, Alexis Leiva Machado/ Kcho, Ngo Van Sac.

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Calvin Quan - Phoebe Washburn, Alexis Leiva Machado/ Kcho, Ngo Van Sac.

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Phobe Washburn is an American installation artist who lives and works in New York City. Washburn is best known for producing large-scale installations: assemblages of garbage, detritus, cardboard, scrap wood, and, more recently, organic matter such as sod or plants.
http://www.zachfeuer.com/artists/phoebe-washburn/

KCHO (sometimes spelled "K'cho"), Born Alexis Leiva Machado on the Isla de Pinos (1970) is a contemporary Cuban artist. Kcho has had art showings around the world. He first attracted international attention by winning the grand prize at South Korea's Kwangju Biennial in 1995.
http://www.coroflot.com/panamericanart/Best-Cuba-Arts-n-Pictures-by-Cuban-Artist-Alexis-Leyva-Machado-Kcho

Ngo Van Sac (b. 1980) graduated with an MFA from the Vietnam Fine Art University in Hanoi, and is now a lecturer in Fine Arts at the Hanoi National University of Education. Ngo has exhibited around Asia, North America and Europe and his work is part of several private collections in the country and abroad.
http://www.widewalls.ch/artist/ngo-van-sac/

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Photographer Beth Galton explores both the commercial and conceptual realms of food styling and photography.
http://bethgalton.com/

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Josh Tatlonghari

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To maintain her almost endless thirst for inspiration, Nora creates watercolor paintings as studies in gestural form. These watercolors take only the emotive aspects of her subjects (usually flowers, architectural pieces and garden buildings) and portray the inherent beauty in everyday objects. Her work is well grounded in artistic traditions, yet unique in its contemporary voice.

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"I'm trying to create my own aesthetic and my own visual language coming from my parent's heritage of the Philippines. I've been inspired by many things, and specifically, I've been really inspired by Jose Rizal's book, Noli Me Tangere. And in the book, one of the themes is united Filipino identity. What I wanted to create within the paintings is my identity with the Filipino multicultural and subculture identities within the Philippines. That's how I imagine my pieces, they are interweaving all these subcultures, like a collective, as a whole."

His graduate studies at Columbia College Chicago centered primarily in bookmaking, his research at Columbia's special collections library led him serendipitiously (perhaps) to a copy of Rizal's Noli Me Tangere.

"Because I'm second-generation Filipino, I wanted to bring my own sense of identity, not just taking out of my parents. The painting is part of the reflection, second-generation Filipinos trying to figure out who they are," said Saclolo.

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Pinoy Food for the Soul: Christopher Saclolo, Artist

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"Because I'm second-generation Filipino, I wanted to bring my own sense of identity, not just taking out of my parents. The painting is part of the reflection, second-generation Filipinos trying to figure out who they are," said artist Christopher Saclolo.

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Cynthia Delaney Suwito, born in 1993, Indonesia, is a practicing artist based in Singapore. She recently completed her Bachelors in Fine Arts (first class honours) at LASALLE College of the Arts, Singapore.

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Is a video artist. Most known for his work The Clock. It ran for 24 hours and was a mash-up of movie scenes featuring either a clock face or a reference to time that was synonymous with the actual time.

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Filipino Contemporary Artist. Works influenced by Pop, Surrealism and Imagism. Assembled collage of Contemporary Art

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Bordello de Luxeby: Christiane L. de la Paz

July 2011-- Collage has a short and distinguished history and was firmly established as an art form of novelty in the 1920s and 1930s. Today, the popularity of collage is on the rise again and a new generation of young artists such as Dina Gadia is rediscovering the practice by combining different materials charmingly by hand to isolate and expose choice images and to obtain new effects. A painter and a collage artist, Dina Gadia entered the art scene in 2006 by participating in group exhibitions with other artists of her generation. Her early works are influenced by Pop, Surrealism and Imagism and referenced diverse sources such as advertisements, history, science, fine arts, cinema (B-movie posters in particular), comics, accessories of everyday life and the new globalized pop culture. In this July interview, Dina Gadia introduces herself and her works and points out how time and the element of excitement holds up a mirror to our times.

Tell me about you.

I was born October 28, 1986 in Anda, Pangasinan. I grew up with my aunt. I was with her family since I was two years old. I studied at Lucap Elementary School and Colegio San Jose de Alaminos in high school. DINA GADIA'S ASSEMBLING COLLAGE
OF CONTEMPORARY ART

Rip Off Horror (2009)

Whose style are you drawn to during your student years?

In college, I really like the works of RM de Leon, Santi Bose, Marlene Dumas, Barbara Krueger, Winston Smith, Nicola Wood, Marcel Dzama and The Clayton Brothers.

Don't Worry I'll Make You Another Rabbit (2009)

Domesticated Violence Go (2010)

Who are some of your professors in college?

Prof. Robert Kho, Marcial Pontillas, Dom Briones.

Frankenstein Remix (2010)

How different was the training you received in FEU as compared to other universities offering fine arts degree?

I find some of the classes boring and uninteresting but it's just me. I can see that some of my classmates enjoyed painting "sweaty" bottles of beverage for a Layout subject during those times. The school library's selection of art book was great though. Some of my friends and I always check out these books that led us to Martin Creed, Barbara Krueger, Damien Hirst, Jean Basquiat and other modern and contemporary artists. Sometimes when it's time for another boring class, we just hang out and play tong-its or watch movies.

The Big Chameleon Moment (2010)

Tell me about your first exhibit.

The first ever exhibit that I joined is a group show organized by my classmates in 2003. It was held in some bar. It was funny because there was an ongoing show on the first floor of the place while on the second floor, they were playing all this disco tunes and people were dancing. It sucks big time! (laughs) My first solo show was in 2009.

From the time that you began participating in group shows, how many works have you produced so far?

I made a lot of small paper works mostly 4"x5"s.

Self-Destruction (2010)

How many days do you finish one work?

Sometimes, I work after lunch until 4am, sometimes from 10am 'til midnight. I make collage and painting so they differ.

Blanc, SLab, West Gallery, CCP among others.

Thriller (2010)

When you are in the process of working, who exactly is the viewer you have in mind?

Myself.

I was first amazed with Winston Smith's collage for an album cover and that influenced me in making collage. Looking back, I think the lack of things to see during my growing years has been the factor why I love borrowing and lifting images from various sources. There's so much beauty in all these album covers, pulp and pin-up illustrations, old and B movie posters, old textbook illustrations and even those hand-drawn signage we see in the streets.

The Mothers of Laveation (2010)

If most of your images are magazine cut-outs, what is the maximum size of your work?
Mostly 8"x10"s or close to that. The availability of materials I use limits the size. But of course, big sizes of collage can be produced out of these magazines or books or whatever printed material. It's just that it does not apply to how I make collage for now.

My collage is the result of images that went on a speed-date that got married with my consent.

I have paintings before that looked like African sculptures. Some were cartoony robots.

Do you think your art has a place in the contemporary art scene?

For now, I'm just doing what I want to do and not think of those things because in all honesty, I'm just starting out as an artist.

Allan's Psychedelic Breakfast (2010)

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Dina Gadia's Assembling Collage of Contemporary Art : Philippine Art, Culture and Antiquities

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July 2011-- Collage has a short and distinguished history and was firmly established as an art form of novelty in the 1920s and 1930s. Today, the popularity of collage is on the rise again and a new generation of young artists such as Dina Gadia is rediscovering the practice by combining different materials charmingly by hand to isolate and expose choice images and to obtain new effects.

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Rondel is a Filipino artist who recieved top prize in the Nokia Art Awards among other artist in the Asia Pacific region, and attended Parsons School of Design in New York and the University of Helsinki in Finland. And finally he graduated from the University of the Philippines College of Fine Arts. Rondel mostly works with drawings and paintings

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German Contemporary Artist. Known for her Scrapbooks/collage artwork: "I love New York, Crazy City"

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Isa Genzken : I Love New York, Crazy City - Les presses du réel (book)

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A monumental printed project gathering for the first time the three collage books Iza Genzken realized in 1995-1996 in New York, demonstrating to what extent the artist is interested in the ways in which aesthetic styles embody and enforce political and social ideologies.

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Also known as "Red", is celebrated for her works with uncoventional media. There is an art portfolio in her Instagram called "31 Days of Food Creativity".

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A Korean artist who lives in New-York. Her work is political-based, most of them are related to Korean events and news.

In "The Chocopization of North Korea," the Choco Pie, a popular snack in South Korea, was used as ink because it is highly valuable in North Korea and it can be used to trade, like money.

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A filipino graphic designer broke the highest grossing  Southeast Asian Hong Kong painting with graphite, oil and acrylic.
Venturas paintings are styled with scluptures featured layers of images and styles. It's symbol of the natured identity of the philipines.
Throughout history, it has been colonized by the United States, Spain and Japan.

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Len Cabili- Founder and Designer of Filip + Inna. The clothes are designed with traditional Filipino patterns from indiginous tribes. (from my own culture)

Great Bear Canada- A married couple who has passion for tradition and design. (from Canada)
http://www.greatbearcanada.com/who.htm

Teresa Wentzler-  American artist and cross-stitch designer.(from USA)
https://twneedlework.wordpress.com/page/2/