The sculptures of Federico Clapis often play with our tether to technology, from the womb to the modern professional. The former stage, in particular, is where we find some of the artist’s most provocative work. He recently unveiled the above piece, a massive bronze figure, in London.
Alvin Ong’s oil paintings, depicting decadence and nondiscriminatory consumption, crackle with energy. These works, following a tradition in art history of examining these themes, move between eroticism and aggression. The Singaporean artist offered this most recent body of work as “Supper Club” earlier this year.
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.”