Flora and Fauna, 2010

“Life can be a complicated journey, and sometimes can have a paradoxical component to it. Art, having an emotional and intellectual dimension, will have an impact on the viewer.”

Primavera, 2010

“I like to think of myself as a neo-romantic revealing and depicting both the good and bad sides of life within each work of art. My main influences come from the Mannerist, Pop-art, and Pre-Rafaelite art movements.”

Diana after the Hunt, 2009

“Having grown up in another generation, I have seen the ever-evolving transformation that comes as society adapts to new technology and social changes, and how those things affect each other, and how those things affect the way we relate to our fellow human beings.”

Venus, Cupid, Bacchus, and Ceres, 2009

“So many of our societal myths and beliefs come from our pop culture and our mass media, which I feel comes from us and is reflected back, affecting social relations. Hopefully, as the viewer sees my work, they will see the ironies of their own life reflected back to them.”

The Dance of Terpsichore, 2009

“Born in 1948, I spent my childhood in the “safer” suburbs of Long Island. Relocated to Buffalo to attend college, and I received my undergraduate and masters at the State University College at Buffalo. I stayed in Buffalo, and taught art to inner-city students for thirty-three years. I also taught other teachers how to use art in their curriculum at the Teachers Center.”

Theater of Life, 2008

“After retiring, I have decided to return to my artist’s tools and medium, and start creating. Even though I’m older now, I feel it’s never too late to start expressing and producing.”

To see more of Salvatore Scrivo‘s artwork, please visit his website at www.salvatorescrivo.com.

Scrubbing Bubbles. 2009, 24” x 28”, oil on canvas.

“The themes I explore in my paintings, commodities and currency, serve as social connectors, embodying universal qualities. I create totemic images that reveal the fetishizing nature of capitalist economies. My work battles the hegemony of the commodity, and the economic order that has made this state of affairs possible.”

Drive I, 2009, 34” x 36”, oil on canvas.

“In this series I create strange amalgams of images taken from U.S. currency and store bought commodities. Both of these entities embody abstract equivalences of value. Acting in concert, these forces have come to colonize every aspect of contemporary life. Social relations have become reduced to the cold “objective” exchanges between commodities and money. We are at the mercy of these powers; and because of this we are particularly vulnerable to the whims of a volatile economy.”

Carry Me Away, 2009, 22” x 16”, oil on canvas.

“When Karl Marx used the term commodity fetishism, he was critiquing capitalist society’s tendency to regard itself as highly advanced. By using the word fetish, he was employing a term routinely associated with “primitive” religions. Marx was asserting that modern society is based on spurious beliefs that lead to the worship of abstract commodities with a religious devotion.”

Loomings, 2009, 36” x 34”, oil on canvas.

“In these paintings, I capture this notion that there is a counterfeit ideology at the center of free-market economies. I create totemic objects to represent our own clannish worship of commodities and money. The work depicts out of control market forces; it captures the manic energy of the commodity as it interacts with money.”

Drive II, 2008, 48” x 60”, oil on canvas.

In the late Nineties and early Aughts James Paulsen lived in Greenpoint, Williamsburg, and Astoria. He is a native of Albany, New York and currently resides in Buffalo. James received his BFA and MFA degrees from the University at Buffalo. He has taught in the Department of Art and Art History at the University of Rochester and the Visual Studies Department at the University of Buffalo. To see more of his artwork visit his website:www.jamespaulsen.com

On The Beach

“We are obsessed with building labyrinths, where before there was open plain and sky. To draw ever more complex patterns on the blank sheet.”

-Gravity’s Rainbow, Thomas Pynchon

Woman Startled By Her Lover (in progress), 2008 oil on linen 46" x 66"

“Tim Kent is a contemporary representational painter, known for his elaborate paintings of interiors and for figurative paintings and drawings that are typically charged with erotic content.”

Tres Lindas Muchachas, Oil on Canvas, 2002

“In his latest work, Tim Kent has become intrigued by different interior spaces. His work is contemplative and mysterious and uses both live models and still-life objects to weave an enigmatic narrative. It references the past but the atmosphere is also pregnant with events waiting to happen.”

Emma on the Stairs of Uppark, 2007, Oil on Canvas

“Kent is a native of New York City. After graduating in art, he became a heavy! metal musician with the band The Giraffes. He returned to painting full-time in 2002 and set up the Brooklyn Sewing Circle in New York, a forum for artists to exchange work and ideas.”

The Blue Saloon, Uppark House, 2007, Oil on Canvas

“He embarked on the post-graduate MA course in the UK as a means to step back from the frenetic pace of New York City. While not painting Tim Kent is a visiting lecturer at universities in The United States and Europe.”

Girls Sunbathing on the Banks of the Arno, Oil on Canvas

Tim Kent is a visual artist living and working in New York City. Most recently he has completed a mural commission for the new Matteo Thun designed Hugo Boss Concept Store in New York’s Meat Packing District. His Next Exhibition will be at Factory Fresh in Brooklyn (2009), Pallant House, UK (2009), and Moncrieff-Bray Gallery, UK (2010). Tim is a regular Lecturer for the Post-Graduate and MA/MFA Programmes at West Dean College, UK.

Photo Credit: Daragh Mc Donagh, 2007

www.ocularjoyfoundation.com

Balloon City: A Floating World, 2006, Cut Tyvek, 127cm x 79cm
©Béatrice Coron

“Black on white, stories are written, and in my case, cut. I invent cities, worlds and situations. They are memories, associations of words, ideas, observations and thoughts that unfold in improbable juxtapositions. Each observer makes his or her own story in this accumulation of real or imaginary lives to remember the past and foresee the future.”

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Water City, 2005, Cut Tyvek, 122cm x 79cm
©Béatrice Coron

“Whether automatic writing or premeditated scenes, images pass through words. The creative inspiration comes from a text, a poem, or from a concept that I reduce to a mere title, or an amalgam of deformed words. Part of the pleasure is finding words that are identical in French and in English: word play, translation add complexity and meaning.”

click image to enlarge

ZCT, 1999, Cut Tyvek, 99cm x 190cm, unique
©Béatrice Coron

“In my work of cuttings, artist books and public art, where there are full and empty shapes, everything must fall in place: one’s place in the world, one’s place in the city, one’s place in his/her body. In my graphic style, windows are used not to see out but in. The cutting blade traces labyrinths and poetic meandering. Shadows suggest danger but also opportunities for new adventures.”

click image to enlarge

Flower City, 2005, Cut Tyvek, 122cm x 79cm
©Béatrice Coron

“Everything is time and space. The viewer is invited to find his or her own way in these worlds.”

Béatrice Coron was born and raised in France and studied at the University of Lyon III, France, and Ecole des Beaux-Arts de Lyon. After living in Egypt and Mexico, she found her creative home in New York City. Coron is an internationally exhibited artist who uses the cutout method in her art. Often created as multiples, the works are hand-cut from Tyvek. First introduced to the cutout method in her native France, Coron was further exposed to cutting techniques while living in China. In the last ten years, Coron has established herself as a full-time artist, and has refined her self-taught cutout technique. Usually working in the book arts, her work can be found in museum collections including the Metropolitan Museum of Art, the National Gallery of Art, and the Bibliotheque Nationale of France. She has received numerous public art commissions including the Burke Avenue train station, NYC through the Metropolitan Transit Authority Arts in Transit, NYC; and the Kostner subway station, Chicago, ILL through the Chicago Transit Authority Commission administered by the City of Chicago’s Public Art Program.

www.beatricecoron.com