Los Angeles artist Anthony Ausgang has long brought both humor, wit, and vibrancy to Lowbrow, moving between a fine art practice and commercial work. In a new interview with Hi-Fructose Magazine, he discusses his path, process, and the broader trends of the art world. He was last mentioned on Hi-Fructose.com here. See our chat below.
Amanda Greive‘s oil paintings contain both conversations about gender and the history of art itself. Using feminine iconography and abstraction, she injects intrigue into her realistic works while maintaining a consistent elegance and absorbing quality.
At first glance, Nathaniel Mary Quinn‘s works may appear as collages. But the Chicago-raised artist’s stirring portraits are rendered in charcoal, oil-paint, paint-stick, gouache and oil pastel by his own hands, an alchemistic process that is both meticulous and intuitive. Much of his work pulls from his own experiences, composite memories that mix bright pop cultural references and the bleakness found in his subjects.
Dan Lydersen’s vibrant, yet disconcerting explorations take a look at the Western experience through the lens of childhood. His oil paintings often specifically look at suburbia, whether through a dystopic landscape packed with its icons or through a contemporary filter. Lydersen was last mentioned on HiFructose.com here.
Futaro Mitsuki‘s hyperdetailed drawings use pointillism and mythology to craft absorbing scenes. The Tokyo-born artist crafts works that infuse a broader art history with traditional Japanese iconography. With works like 2017’s “Monna Lisa,” that infusion is both startling and most present.
The “street interventions” of Belgium-based stencil artist Jaune put sanitation workers in strange, often humorous situations on walls across the world, using the contours and features of each site for inspiration. For many, the stencil work recalls the public work of practitioners like Banksy and Blew le Rat. His specific usage of sanitation workers, however, comes from personal experience.