Mario Martinez (aka MARS-1) paints from a penetrating perspective of great depth. Viewers are drawn into his imaginative compositions, overflowing with colorful geometric and organic shapes, layered to form unique patterns and textures.
The artist signature style of vast, abstracted, quasi-extraterrestrial looking landscapes feature imagery of surreal distortions, contained within spherically convex transparent bubbles. Skillfully combining optical color blending with perspective line work, his painting techniques result in very three-dimensional forms, which echo the anatomy of architecture, and microcosmic structures of biology.
These 3-D qualities transcend into his sculptural work, as well. Mars-1’s distinctly individual aesthetic is not easily compared to the vision of his contemporaries or artists from past movements. His constantly evolving process continues to expand with each new series of work, seemingly beyond the reaches of even his own awareness.
Themes explored range from very scientific to more esoteric phenomena. From theoretical physics, metamorphosis and collective consciousness, to ufology and examining possibilities of otherworldly principles, the relative link between physical and life sciences are applied throughout. Transitional energies, natural multiplicity, helixes and spontaneous biological occurrences all come together, forming imagery with hypotheses beyond the scope of modern technology.
Soule's work is highly complex and imaginative in both practice and concept. Fueled by his inherent investigative and obsessive curiosity, he employs an array of scientific and artistic systems to create his paintings including polarity, abstraction, alchemy, geometry, quantum physics, surrealism, molecular biology, meta physics, ancient symbolism, cosmology, Buddhism, sci-fi fantasy, cyber-infrastructures, the global, digital subatomic and infinitely vast multiverses we may find ourselves in at any given moment.
His use of bright colors and hyper crisp geometric patterns, interwoven through n-dimensional topographies, create abstract forms and Zen like mandalas that gravitate towards the infinite and eternal interconnectedness. Electrifying and activating the conscious and unconscious transcending both time and space. The viewer is immediately engaged in a visual dialogue between the artist and the divine Quintessence.
Damon Soule was spontaneously infused in our solar system via the planet Earth, 1974, and began expanding annually in a location sometimes referred to as the Crescent City. Around the age of four, he began work on his lifelong pursuit concerning the application of homogeneous forms to linear topography. Exposure to such a wide range of serendipity during his formative years provided him with a unique vision: “self determined entropy can produce highly contagious effects,” he recalls. Damon’s visualizations have been exhibited throughout the universe. His work is included in the permanent collections of nearly all of his friends, as well as many private collectors.
Oliver Vernon was born in New York in 1972. He received his BFA from Parsons School of Design in 1995, and currently lives and works in California. He has exhibited his work in cities all across the United States including New York, Los Angeles, Seattle, San Francisco, San Diego, and Chicago, and has also shown in London and Toronto. His work is part of numerous collections, including the Metropolitan Museum of Art.
Visually, California based artist Oliver Vernon’s paintings draw upon an incredibly varied pool of influences, from abstract expressionism, to post pop surrealism and the polished finish of figurative realism. Formally, his work is about the deconstruction, and hence the necessary reconstruction of visual space. From this central dichotomy stems many others: logic/illogic, physical/metaphysical, imprisonment/liberation. His paintings come to us, perhaps, as detailed snapshots of the few primordial milliseconds when the blueprint of the universe was being sculpted from the final throes of chaos. In this sense, anything goes. Each painting has it’s own set of rules, or rather the rules are being bent, broken and ultimately formed within each painting. Color, form, energy, architecture, good, evil, flesh and machine are lurking, never as physical entities, but as transient archetypes searching out their final places within the framework of the cosmos. Apart from this macro view, Oliver’s work can be seen at the micro level as well. We can view his paintings as representations of how the mind is formed from a foundation of thought, reason, and aesthetics, and how these entities are simultaneously at odds and interconnected.
Dispersion, 2014, acrylic on paper on panel, 96 x 90"
Warrior, 2014, acrylic on paper on panel, 96 x 72"
BehindTheInterface, 2014, acrylic on paper on panel, 96 x 72"
Pilgrim, 2014, acrylic on linen, 92 x 86"
ProximityShifting, 2013, Sumi ink on paper, 46 x 66"
Mantis, 2013, acrylic on linen, 48 x 80"
Deflection, 2013, Sumi ink and watercolor on paper, 12 x 21"
Nothing Is Everything, 2013, acryilc on linen, 92 x 80"
Splindy, 2013, acrylic on cancas, 18 x 24"
Tilt, 2012, acrylic on linen, 76 x 82"
Grey Matter 1(Lullaby), 2012, acrylic on linen, 52 x 66"
Sprung, 2011, acrylic on canvas, 107 x 66"
Lit Muse, 2011, acrylic on canvas, 40 x 30"
Full Bleed, 2010, acrylic on panel, 36 x 36"
Grapple, 2010, acrylic on panel, 12 x 12"
After, 2009, gouache on paper, 30 x 40"
Tangle, 2009, gouache on paper, 18 x 24"
Slope, 2008, acrylic and collage on panel, 30 x 40"
Torn, 2008, acrylic and ink on paper on panel, 36 x 24"
Bridger, 2008, gouache on paper, 8.5 x 11"
Wink, 2007, acrylic and collage on panel, 36 x 48"
Blue Swirl 2, 2007, acrylic and ink on paper on panel, 30 x 40
Bliss in Dissolution, 2006, acrylic on canvas, 48 x 60"
David Chong Lee
Born in South Korea, David was already an adult when he went to the USA to amplify his skills in the fine arts field. With a degree from San Francisco's Art University he then followed a path that would lead to an unique style.
Mixing a lot of different tools and techniques, from sculpture to graphic design, from collage to classic inspirations from artists like Van Gogh or Sukdo, David's work is intriguing but, at the same time, a display of boldness and striking passion that has made a mark in the numerous exhibitions, books, spots and minds of those who have been fortunate to watch it.
Otherworldly - NoMe Edonna
Justin Lovato is a California based artist who's abstract psychedelic landscapes reflect the beauty in nature viewed through his own lens. His unique and progressive techniques combine these abstract landscapes with Op-Art geometric patterns to produce a visual display that stimulates and inspires.
In my collages I use hand made papers that I have been collecting since I discovered my medium in 1992. The images found in my collages are drawn from a collection I started at that same time. The constant search collecting and cataloging of images, papers and anything that could be used in my work is a large part of what I do and is one part of the process that I love.
Having lived in NYC for the past 20 years, mixing images taken from all walks of life is something that is important to me. It is what I love about NYC. Here on Manhattan there are all these people from all over the planet on one island getting along with each other. It’s a beautiful thing. My medium allows me to mimic this in wonderful ways; ways that sometimes make for quite surreal scenes.
Mused by sacred geometry and shamanic visions I attempt to channel these inspirations into my work in the form of psychedelic landscapes, iconic, mandalic and spiritual mayhem.
Meticulously isolating the images from their original reality by cutting them out using an x-acto knife and then injecting them into a new reality with the help of glue, I place the selected images between multiple layers of clear resin building a collage time capsule in 3-dimensions.
The works have a story to tell and much like a good book that is read for the second time, I attempt to have my work reveal a slightly different version of it self over and over and if possible awaken the viewer’s imagination.
Joe Hengst (b.1991) is an artist living in Northern California. He received his BFA from the San Francisco Art Institute in 2013.
Hengst's work depicts mankind’s present attempt to leave nature while simultaneously showing our coexistence with the natural world. Humans have started to rely on a fabricated society. With our gradual incline towards artificiality, some of us have almost forgotten: All humans need nature to survive. Though we have a symbiotic relationship with nature, we still try to control, synthesize, and simplify it. Some of the forms Hengst paints represent the artificial alternatives to nature that we have created.
Humans and nature are part of the boundless singularity of the universe. However, most of us romanticize nature as a place where we can come and go as we please. Hengst’s paintings represent this romanticized viewpoint, and he does this through automatism, realizations from the collective unconscious, as well as his own subconscious.
Denver artist CT Nelson’s paintings do not fit into one artistic movement. His approach draws from many and has developed into a unique style that is completely his own. Employing an exceptional awareness of light and color, Ct creates an opportunity to delve deeper into phantasmagorical landscapes where the initial discomforts and distortions of the grotesque transform into genuine intellectual curiosities.