Chilean painter and visual artist Bruna Truffa combines imagery gathered from art history, popular culture and everyday life to present critiques on modern society and the institution of art itself. Flavored with kitsch, her works have previously explored notions of national identity, propaganda, consumerism and the contemporary feminine experience. In her latest series of oil-on-canvas paintings, the artist addresses ideas behind “Wonderland”, described as a “fantasy wonderland and illusion, the dream of happiness, and the unfulfilled promise of the neoliberal realization.”
Daniel van Nes, a Dutch artist, draws, paints, engraves, and creates installations and virtual reality experiences in a “machine noir” world. Projects like “SellFable City: Circuit Circus” are immersive experiences that invite visitors into physical and virtual representations of the artist’s charcoal renderings and other traditional work. The circus, hosted by Tetem in Enschede, Netherlands last spring, relates the various talents of Nes.
The personal work of Brooklyn-born sculptor Dave Cortes is forged from varying types of woods and precious metals. These pieces, whether a dramatic face distorted from brute force or a quieter, grotesque mediation, “represent an encapsulated moment of inspiration,” Cortes says. The artist has created commercial work for DC Comics, Sideshow Toys, Toy Biz, and MacFarlane Toys.
French ceramicist Juliette Clovis creates beautifully strange sculptures of women that blend elements of myth, nature, and feminine form. Placing special emphasis on technique and aesthetics, the artist applies cut Limoges porcelain to simple female busts, transforming them into mesmerizing new species that draw from various wildlife and flora. Through the process of mutation, these hybrid creatures become vehicles for exploring feminine identity in relation to the natural world.
Jorge Mayet’s miniature floating sculptures serve as compelling metaphors for the artist’s complex relationship to his native country. Mayet was born in Cuba, yet has been living and working in Mallorca, Spain as an expatriate. Despite the circumstances, his sculptures are devoid of any intentional political statement. Instead, they explore the artist’s personal experiences with exile and displacement, and the powerful nostalgia for one’s homeland left behind.
London-based artist Elaine Duigenan’s painstaking process to create the body of work “Blossfeldt’s Apprentice” required two key elements: twist ties and a camera. The project is named for German artist Karl Blossfeldt, whose renderings of plant-life in the 1920s inspired this series by Duigenan. Blossfeldt famously said, “the plant must be valued as a totally artistic and architectural structure.”