Painter Edward del Rosario’s theatrical, yet controlled tableaus carry cross-cultural references. Often in the artist’s work, each of the characters seem to have their own narrative or motivation, creating a piece teeming with both humor and surprising complexity, once absorbed.
Aspencrow’s hyperrealistic figurative sculptures blend the provocative with pop. Blending materials like resin, fiberglass, and silicone, his works serve as both admiring and wry portraits. The artist was born in Lithuania and moved to England to attend Birmingham City University, School of Art.
In Prescilla-Mary Maisani’s latest series of sculptures, “Frog’s Dynasty,” she presents amphibian deities that reflect contemporary self-infatuation. Displayed poolside, their obsession with luxury is underscored, with the artist recently displaying these works in Corsica. While previous series manipulated the human form, Maisani’s new set takes a more cartoonish and sardonic turn.
Examining masculinity and power, Scott Scheidly’s paintings re-contextualize real and fictional villains. Elsewhere in Scheidly’s practice, he injects the grotesque into floral motifs, further underscoring the painter’s knack for satire and subverting expectations. The artist’s humor is also evident in his short bio: “At age four I attempted my first art project by devouring a 10 pack of crayons thus turning my diaper into a Jackson Pollock.”
The work of surrealist Igor Morski combines analogue and digital approaches. His illustrations often contain their own secret messages and mythologies. Yet, there’s still something baldly universal in his subjects, whether unraveling or confined to contained within a seemingly endless wall of compartments.
Angelo Musco’s textured work uses the photographed human body as its building blocks. The results are landscapes and structures literally teeming with life. Below, his studio offers a preview of his new project arriving this fall: “The Land of Scars,” a work that takes an even more personal and churning turn than previous series.