Armed with fungi, moss, and other organic materials, New York-based artist Lina Hsiao crafts otherworldly portraits. The artist, a 2013 graduate of Fashion Institute of Technology, creates characters that feel at once familiar and alien, with three-dimensional textures and staging. Contained within various parts of these faces are disparate landscapes and backdrops.
Rossina Bossio, born in Bogota, Colombia, crafts mixed-media portraits that contain symbolic flourishes and abstractions. Although the artist seems to focus primarily on women in her series like “Unidades Disponibles,” she intends to create conversations that explore the broader human condition. Or as her statement maintains, “imagining a utopian world where we will no longer need to talk about gender issues when facing images of women in galleries and museums.”
The work of French graphic designer and painter Jonathan Ouisse moves between stylized portraits and surreal fantasy scenes. His series “Hungarian countryside portraits” uses a topographical approach to the faces of his real-life subjects, blending a straightforward subject with regional iconography and designs. The artist is currently based in Budapest, Hungary.
Intricate portraits created by Jason Chen, a photographer based in Philadelphia, come from multiple images of the same subject. But as the artist weaves them together, in a process he says explores “time, movement, process, and mutation,” a new representation of the individual emerges (and the backdrop that encloses them). And somehow, their humanity remains intact.
England based artist Dylan Andrews uses light and shadow to portray emotion in his drawings. His monochromatic charcoal portraits build up to a dramatic intensity that is almost surreal. Owing to the drama and atmosphere in his pieces is the use of black and white high contrast of tones. Pattern and texture is another aspect of the work that he uses to explore the emotional possibilities. The shadows on his young subjects’ extend the reality of the image beyond the page, a reflection from an object we cannot see.
Erin Anderson paints with oils on copper sheets, strategically using negative space to incorporate her surface’s glimmering texture into her compositions. Her portraits are realistic and straightforward. But the copper swirls that envelop her subjects endows these ordinary people with a supernatural glow. Anderson etches the metal, giving it texture and a sense of movement . She states that she is interested in learning about the ways various elements of nature are connected and hopes to illustrate a similar, universal connection among her human subjects.