Stray Art Media

I am an Italian illustrator specializing in children’s illustration, classic fairly tales, magazine illustrations, advertising illustration and more.

I like to paint awkward social moments as nicely as I can.

My work traverses the liminal landscapes of attraction and repulsion, always looking for that unnamable, elusive, transcendent moment. I'm particularly interested in how public spectacle destabilizes the role of the audience, and forces the passive viewer to become a participant, to confront their own fears and desires. Incorporating video, live performance, and photography, I create visceral, cinematic experiences that fiercely roam the territory of underground culture through a queer feminist lens.

Jacob Lysgaard is a student of visual communications, and a designer across several fields. He works mostly with conceptual branding projects, and has a lot of fun with illustration on the side.

I was raised in the shadow of the DOE Hanford Nuclear Site in Richland Washington. The unique industry that supported my community, the sense of tragic progress that haunts it¹s past, the striking desert landscape, and the importance of water, inform my visual sensibilities.Out of this, I have developed a language of biomorphic characters,barren landscapes, and crashing liquids. The invented creatures, rocks,trees, and bushes, all receive similar textures and shapes. With this treatment, life and it¹s environment become equal.This landscape is then used to portray trivial yet memorable experiences of my life: boy chase girl, trips to the beach to go surfing, my first rock concert, etc. This is not an attempt to trivialize my own life, but rather to integrate my experiences with my environment.

My body of work concerns the domestic sphere and my fantasies and anxieties surrounding home life. Many of us, including myself, become caught up in the future and how we can obtain the ideal life, often at the price of neglecting to think about the present. I catch myself over-planning and projecting impossible expectations on myself and those around me, as well as growing anxious over imaginary worst-case scenarios. I seek to express these common feelings of excitement, longing and stress through my drawings.

formaldehyde in the medicine cabinet. preserving memories and memorabilia.that matchbook from last february. the hair from two years ago. the gravel from your street. most importantly the dreams. you wake up with. and also feathers for when you fly away. thus creating an image that smells like spilt ink and people who never forget.

My work looks to take the visuals of the city, be they structures, images, or text and crop and combine them (within the camera frame) into new readings of meaning or space. The flattening of space afforded by the lens creates new opportunities for collage and composition. All images are made in a single shot.

Intrigued by the people and landscapes of Savannah and coastal Georgia, Katherine Sandoz paints daily in her studio in Vernonburg. Her work is fueled by her romance with the act of painting and inspired by her surroundings and the rich history and tradition of the deep South. By painting and drawing these subjects, she hopes to preserve, catalog and celebrate the terrain of daily life.

I’m a Seattle-based artist who loves math. When I think of ideas I relate them to definitions that build up into theorems and little pieces of knowledge. I like to use a standard set of elements to make up my images, with each element holding a very particular set of meanings for me. I love color.

My work depicts a city growing at a rapid, uncontrollable rate. This city is a metaphor for psychological space, full of potential yet intimidating enough to hesitate before crossing its harsh borders. Through real world border crossings I have compiled stories and memories that I carry into my understanding of the world. By traveling through psychological space, I create parallels between the world as I see it and the way that I want to see it. The world that I depict came together through struggles to grasp the lessons of the past, while working toward understanding in the future.

A confirmed cinaphile, I’m interested in how society identifies with film and television narratives on an intimate level. How we incorporate stories on love, success, or morality into our lives and play them out both consciously and unconsciously. My figurative watercolor work in the past has focused on identity and self perception. They combine outward judgements on our bodies with the inner fantasy world of how we would like to be perceived through fashion and identification. In my newest work I am looking at narratives themselves with a focus on endings both through watercolor and video. The pieces in this exhibition are the fade out ‘end scenes’ in various films re-imagined in more privately epic ways. Our relationships with narratives are so ingrained that we often fail to recognize how we enact them. These pieces are off-screen endings, meditations on finality in more private terms. They look at the space of cinematic endings from the position of genre, death, relationships, and finality. Ultimately all endings allude to death, a set time frame is what enables meaning and a fantastic wider reality.

Mark Price (b. 1981, Detroit) lives and works in Philadelphia. His work has been featured in group exhibitions at the Yerba Buena Center for the Arts in San Francisco and the Institute of Contemporary Art in Philadelphia. In 2009 his work was selected by curator Aaron Betsky for inclusion in the internationally recognized Confines exhibition at the Institut Valencia d’Art Modern. His work is represented in New York by Kesting / Ray. Price’s work speaks to a deep-seated human fear of groundlessness and change. We seek stability and a world we recognize as sane and reliable, and Price’s work won’t give it to us. Instead he offers incomplete warnings of a shattered future in gestures that pierce the picture plane, flattening it into jagged shards that we strain to recognize. A silhouetted character appears from time to time in the work, functioning as a reminder of the fragmentary and incomplete nature of consciousness. In Price’s constructs, our own experience can no longer be trusted. The high-resolution screen through which we view the built environment has shattered into stuttering and razor-sharp hi-contrast graphic regions. Fragmentary bits of a larger situation, his collages emerge into a three-dimensional plane that feels tentative, vulnerable, and hyper-real.   “Price’s visual world consists of both appropriated scenes and personal machinations of pure imagination. In it are fragments of collected, distorted, and replicated artifacts—an arrangement of shadows in a parking garage, the sinister implications of a computer error message, and the menacing pattern of caution paint at a Hong Kong toll plaza…The result of this combination is a hypnotic tour of where our psychological and information architecture collide.” - Maxwell Neely-Cohen

Entertainment is defined as a thing that interests, pleases or amuses. It’s my goal to accomplish these very things and to communicate or touch the viewer on some level making them laugh, smile and cry simultaneously. I use distortion as a tool to emphasize and amplify quirks and feelings to push emotions within the viewer in hopes of revealing to them the magic that takes place everyday in our lives. Ultimately, my paintings are about crazy, whimsical characters performing acts from the ordinary to the extraordinary, experiencing hidden emotions that are both hilarious and tragic at the same time.

Always compelled by popular forms of story-telling – comics, motion pictures, adverts, his grandmother’s beloved photo romance stories – Cédric Roulliat taught himself photography as a medium to convey his staged tales of lonely, distressed women and karmically-challenged gigolos. These artificially-conceived scenes of desire and death pulsions are equally indebted to Hollywood’s golden age, the Grimm Brothers and Guy Bourdin. The fact that a handful of gorgeous girls and boys are still willing to model for him never ceases to amaze the photographer.

Emily Niland is greatly influenced by the false ideals of the American Dream, the perils of consumer culture, and other cheery subjects of the sort. Aside from self-indulgent social commentary, her talents extend to creating mischievous narratives and whimsical dreamscapes. Emily scans hand-drawn sketches, or clippings from vintage magazines, to manipulate digitally. This combination of different medias enables her to achieve a unique aesthetic and encapsulate her dark humor as applied to various subject matter. Emily received a BFA in Illustration from Massachusetts College of Art & Design. She currently resides in Brooklyn.