I met Day-Z during a workshop organized by Jealous, where we learned a little bit more how the prints (all kinds of prints) are produced. Since then, I´ve followed this fantastic artist who identifies herself with the street art scene, signing a number of advertisement interventions very graciously, and full of glamour. I see her as an awesome fine artist who loves giving a modern twist to her pieces, influenced somehow by street art.
Day-z is an up and coming London born and based artist. She studied Fine Art at Central St Martins where her tools of choice were a humble pen & pencil. Since then she’s continued to perfect her craft with more than 1000 hours of practice and a natural finesse. Breathing lifelike detail into her drawings, combined with witty, comical and politically provocative ideas she explores the ways in which brands pervade our lives and recreates old masterpieces with a contemporary perspective. With representation among several illustrious modern galleries from London to Switzerland, and a strong presence on the streets and social media, Day-z has only just begun.
In 2014, Day-z was awarded the ‘The People’s Choice’ artist by the Derwent Art Prize. Last year Day-z debuted her solo show ‘Branded’ at leading firm Ashurst LLP showcasing a breadth of playing with iconic brands from Chanel to Coca Cola and was highly received by The Saatchi Gallery Magazine.
J. Óscar Carrascosa.
The transvanguard, accepting the implicit guidelines of postmodernism, has exercised with its cultural actions a willingness to anti-manifiesto, a denial of the previous conventions, in part very much in line with what Paz called the tradition of rupture; yes, ‘ma non troppo’. We would like to consider this attitude itself as a manifesto, replicated by each of the chorus voices in exhibitions of recent years, such as Ana Maria Guasch in her polyanthea titled ‘Manifestos of Postmodern Art’, where perhaps is just assuming the concept of manifesto more as as a definition than as full stop, even when what is defined is also a rupture (at least apparent). Or perhaps this anthology of correctly selected critical texts was the prediction of an agonizing situation trying to emerge from a curious Rappel à l'ordre, which in fact occurs at a time of the same historical vanguards, but then opened different roads.
Postmodernism has been weakened by exhaustion, boredom even, perhaps because it had inherited a weakened sense of loss and had already been exhibited all possible penance. In fact, many of the texts of the anthology to which I referred to (including all between 1980 and 1995) agree in what has been going on in recent years: the return from the painting to painting.
J. Óscar Carrascosa
Sandra Carvajal Novoa es uno de los referentes del arte abstracto expresionista en Mexico. Artista, museóloga y curadora, ha generado proyectos tanto para instituciones gubernamentales como privadas.
Además de artista, es una de las gestoras culturales más activas de Mexico. Es reconocida por su impulso en la creación de posibilidades para la puesta en marcha de nuevos modelos de coleccionismo en el Estado de Jalisco. Dentro de la Secretaria de Cultura Municipal logró la legislación de dos premios estatales de pintura y escultura correspondientes a su gestión como Directora de Museos, Galerías, Centros Culturales y Bibliotecas Municipales de la ciudad de Guadalajara.
J. Óscar Carrascosa.
La transvanguardia, acatando las directrices implícitas posmodernas, ha ejercido con sus acciones culturales una voluntad de antimanifiesto, de negación de las convenciones anteriores, en parte muy en la línea de lo que Paz llamó la tradición de la ruptura; eso sí, ma non troppo. Que esta actitud queramos considerarla un manifiesto en sí, replicado en cada una de las voces del coro de exhibiciones plásticas de los últimos años, como por ejemplo hace Ana María Guasch en su poliantea titulada Los manifiestos del arte posmoderno, tal vez no es más que asumir la concepción de manifiesto más como definición que como punto y aparte, aunque lo que se defina sea también una ruptura (al menos aparente). O tal vez este florilegio de textos críticos acertadamente seleccionados era más el vaticinio de una situación agónica que intentaba resurgir a partir de un curioso Rappel á l'ordre, que de hecho se da en un momento de las mismas vanguardias históricas, aunque luego abrió distintos caminos.
El posmodernismo ha perdido fuerza por agotamiento, por aburrimiento incluso, tal vez porque había heredado un sentimiento de pérdida debilitado y del que ya se había exhibido toda la penitencia posible. De hecho, muchos de los textos de la antología a la que me he referido (comprendidos todos entre 1980 y 1995) coinciden en lo que se ha venido en los últimos años: la vuelta de la pintura a la pintura.
I usually attend all sort of art events, looking for good outstanding art and artists, and that´s exactly what happened last year during the Summer Parallax Art Fair. I met Kasia, showing her fresh, elegant illustrations, which immediately caught my eye.
Kasia is an amazing Illustrator based in London. After graduating from art school in Poland she moved to London to pursue her career in fashion industry working as print designer for high street brands. Today she works as an Illustrator creating detailed drawings both for businesses and private clients. In her work she mixes portraiture with conceptual illustration and use biro pens as her favorite medium.
Her work has been featured in magazines, on various blogs, sites and by brands like ASOS, New Look, ITV's TV shows, or Surfdome. Her work was exhibited at few art events so far including: The Biennale of Illustration and Graphic Art in Berlin, Parallax Art Fair in London and was presented in London's galleries including Camden Image Gallery, Piano Room Hackney and currently Walton Fine Arts in Chelsea. Kasia is member of London based art group Expressive Collective.
What made you get into the art world? Is art something you ever thought about, was it related to previous activities of yours?
I was into arts since I can remember. As kid I used to watch my grandfather, who was an architect, sharpening his drawing pencils to perfection. He would hold the knife at an angle and carefully press it down against the end of the pencil, shaving it off bit by bit. He would rotate the pencil so that each side was shaved evenly. It was an amazing view, I can still remember woody smell of color edged pencil leftovers falling down and how perfectly sharp the end of the pencil was. It was a beautiful and mesmerizing sight for young kid.
I quickly discovered that as my grandpa I can draw too and since that moment I knew what I wanted to do. I wanted to be an artist.
TIMOUN Rezistans is the name of a group / youth movement artists who created assemblages from waste found in their neighborhood - a small compact area.
Ghetto main artery background Grand Rue in the heart of the Haitian capital. Together Timoun Rezistans perpetuate the aesthetic of the art of collage Rezistans atis referring to the Afro-Haitian history of the present, as well as forms of renewal through the hip-hop culture and digital techniques.
When we sold a painting he helps us with this money we pay our school, we are helping money too.
TIMOUN Rezistans was formed in 2007 curators are Mario Pierre Louis (1994), Leonce Love (1995), Pierre Louis Herold (1996), Jean Milord Muller (1996), Evens Richelieu
Who are we ?
Love born Leonce (2 October 1995) is an artist of Timoun Rezistans in Haiti. He began to make sculptures and joining of materials recycled in 2006, His subjects are inspired by nature and stories of Vodou. Leonce Love was involved in numerous group exhibitions (2008 creation Culture Foundation) for the workshop and work with children and also FOKAL 2010 EMBASSY OF FRANCE, FRENCH INSTITUTE and the Ghetto Biennale. In 2015, I worked in a project Radio Shak ... I expose the Timoun Rezistans in Denmark in collaboration with Kuratorisk AKTION To work with foreign expertise and My other passion is music as a DJ SANPAREY, play House, Dancehall, Ragga Muffin and Hip Hop. My dream is to exhibit his work internationally.
Desde el pasado mes de julio y hasta el próximo noviembre, la Catedral de Cuenca expone la muestra titulada “Poética de la libertad”, una interlocución de discursos en la que prima SACRED, del artista disidente chino Ai Weiwei.
S.A.C.R.E.D es la sigla formada a partir de los vocablos Supper, Accusers, Cleansing, Ritual, Entropy, Doubt. En esta muestra Ai Weiwei relata su experiencia en prisión durante 81 días, en los que fue sometido a vigilancia durante las 24 horas ininterrumpidas. El artista comunica directamente al espectador tanto su cautiverio como las consecuencias derivadas del mismo, siendo la reflexión sobre el concepto de libertad la resaltada de manera más significativa. A través de la instalación de seis cajas realizadas en hierro y fibra de vidrio herméticamente cerradas con una dimensión individual de 377 x 197 x 148,4 cm. y un peso también unitario de 2,5 toneladas, el visitante podrá contemplar algunas de las escenas de estos casi tres meses de privación de libertad del artista.
La muestra ha sido comisariada por Carlos Aganzo, director del diario “El Norte de Castilla” y profesor en la Universidad Europea Miguel de Cervantes. Además de periodista y comisario, Carlos Aganzo es un reconocido poeta que y sus poemarios han merecido distinciones como el Premio Jorge Guillén (2003), el Jaime Gil de Biedma (2010), el Universidad de León (2012) o el Ciudad de Salamanca (2014). En 2012 recibió el Premio Nacional de las Letras Teresa de Ávila.
Lo entrevistamos para Chrom-Art:
Combining digital technology and traditional painting may seem quite challenging, but in Edward Coyle’s large, intricate paintings, created through various processes and technics, it becomes a characteristic mark of his artistic ‘methodology’.
His paintings drive the audience into fictional inhabited spaces; The completed canvases demonstrate an oscillation between the temporary and constant, real and abstract. As described, Coyle’s canvases bring a’ topographic proposal for an imagined place that is at once aspirational, and optically at reality's most complex’.
Edward Coyle was born in Oxford in 1985. He studied at the University of Newcastle Upon Tyne 2004-08 and at The Princes Drawing School London 2008-10. His work has featured in The John Moores Contemporary Painting Prize, 2010, 'Drift' at Lumen Gallery London 2012, The Other Art Fair, London 2012, 'The Impossible Heap' at Galerie 8, London 2012 and 'BUILD!' at Beloni Gallery London 2015. He is currently a freelance Architectural visualiser.
José Manuel Ciria is one of the international Spanish artists with most predicament. A rich history of success and professional recognition have led him to the best of his career. Now, apart from the newly created Ciria Foundation he has designed an important philanthropic and cultural support program. In this line of action, he has kindly agreed to be interviewed for Chrom-Art.
José Manuel: First of all, thank you very much for supporting us, we are an international project based in London. You work between New York, Berlin, London and Madrid. Do people need this international perspective to understand and confront Art?
I was born in Manchester of Spanish parents. My grandmother lived in Paris for 20 years. Since my childhood, traveling has been part of my life. In my development as an artist it was logical that this sort of nomadism would be reflected in my work. I like to observe differences in the thinking, politics, psychology and sociology in the environments around me. My interests not only adhere to theoretical and research approaches, I seek to see my work transformed depending on the country and city I live with what I see and the people with whom I interact. Obviously this international perspective that you mention, has allowed me to have more information, and benefit from more resources.
I met Rosso in person just a few months ago, although I admire her work since first piece I saw, I would say, a year ago or so.
I think her figurative style mixed with a kind of surreal atmosphere is amazing.
Rosso's paintings are metaphors of contemporary society, born out of a reflection on the irony and conundrums of the human condition. Her canvasses are often populated with a colourful mixture of carnivalesque characters impersonating feelings, fears, themes and taboos commonly experienced. Drawn from an exciting blend of arcane myths, religious artefacts and fairytales with contemporary urban folklore, her art engage the viewers in very subjective ways, sometimes confronting or comforting them. Born in Sicily (1978), Rosso moved to London in 2004 to finish her academic studies in international relations and human rights. She worked in advertising and marketing before starting her artistic path. Primarily self-taught, she trained briefly at the Prince Drawing School and at LARA (London Atelier of Representational Art) before embarking on a full time professional painting career in 2014. Her painting career is progressing fast and steadily, having already won the Emerald Winter Pride Arts Award in March 2016 with her genderqueer self-portrait "Madame Moustache".
José Manuel Ciria es uno de los artistas españoles con mayor predicamento internacional. Una acaudalada trayectoria de éxitos y reconocimientos profesionales le han llevado al mejor momento de su carrera artística. Ahora, además, desde la recién creada Fundación Ciria, se ha diseñado un importante programa filantrópico y de apoyo a la cultura. En esta línea de actuación, se ha brindado a ser entrevistado para Chrom-Art.
José Manuel: en primer lugar, muchas gracias por apoyarnos, se trata de un proyecto internacional con sede en Londres. Tú trabajas entre Nueva York, Berlín, Londres y Madrid. ¿Es necesario tener esta perspectiva internacional para entender y enfrentarse al arte?
Nací en Manchester de padres españoles. Mi abuela vivió durante 20 años en París. Desde mi infancia, el viaje ha formado parte de mi vida. Al desarrollarme como artista era lógico que esa suerte de nomadismo se viera reflejado en mi trabajo. Me gusta observar diferencias de pensamiento, políticas, psicológicas y sociológicas en los entornos que me rodean. Mis intereses no solamente se ciñen a planteamientos teóricos y de investigación, busco que mi obra se transforme dependiendo del país y la ciudad que habito, con lo que veo y la gente con la que me relaciono. Evidentemente esa perspectiva internacional que mencionas, te permite tener mayor información, incluso más recursos.
Julio Cesar Osorio: "Childhood Spring"
Louie McManus: "Manic Man"
'Maestro' Pisano is a good friend of the Chrom-Art house.
The charming Sardinian brought chiaroscuro back to make it the hottest thing since sunburns.
We interviewed him last year for The Palette Pages and witnessed his big success at FLUX exhibition in February.
He is now in our 'ID' Show at Display Gallery with three amazing pieces we asked him to comment for us. Here are his
LIKE AN OPEN BOOK
Meet Alberto Fusco
By Javier Melian (www.chrom-art.org co-founder)
This charismatic Italian artist is increasingly in high demand. His incredibly subtle and balanced paper sculptures are collected by the likes of Matt Lucas who picked Fusco's artworks for his LA home. His creativity has no bounds; read on to discover.
Elegantly produced by multi-talented Alan Cross (www.viraldesignlondon.com) it symbolises the arrival of ChromArt to the Emerging Arts arena with the intention of awakening Art on everyone and support the artists
community by connecting artists and art lovers worldwide.
We also want to join forces with other organisations to nurture artists careers and raise awareness of the thriving art scenes on the streets and independent outlets everywhere in the planet. Art is the true universal language of the world, is inclusive and cross cultural. Art is increasingly more accessible, and it shows that we are equal, and that Together we are One.
By Javier Melian, ChromArt's co-founder
Read Sharon Roark's inspiring story in her own words.
Artist, trans-gender, US Veteran, wife, mother and friend
By Javier Melian, ChromArt co-founder
British born, Matt Crump is a multi disciplinary artist living and working from his home studio in vibrant Brixton, London. Matt studied a fashion degree at Kingston University and earned a Ba Hons in fine art. Entwined, these two disciplines inherently influence his outlook and methodology. Matt is a quarter French, a quarter Moroccan and the other half British; an eclectic mix reflected in his various works of art.
Whilst trained in painting and photography, a new lease of creative life has seen him specialise in digital collaging using long forgotten images
His works from various projects are assimilated from antiquarian books and printed material scoured from dusty corners around the U.K and worldwide, with original source material dating as far back as the late 17th Century. Through this “up-cycling” using scores of detailed intricate images these pieces take on an immersive and detailed style with an aire of the phrenological. This technique sees the past reinvigorated back into hypnotic life with talismanic values.