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Raul de la Torre

I first began to make cuts with a razor 15 years ago, shortly after reading an interview with Catalan artist, Joan Miro. In it, he said: “I want to assassinate painting.” That started the process and, from there, I created a series of works on canvas that involved large cuts on canvas filled with materials such as cardboard, old-t-shirts and paper. Six years ago, I decided to explore the combination of color and destruction of the working surface, and that was the beginning of “THREADS AND COLORS – FILS I COLORS.” In FILS I COLORS, I always start by working with paint, make cuts on the paper or canvas, and then fill those gaps by embroidering with cotton thread. This adds textures to the work, and is an attempt to find life and movement, and to a create a more dynamic surface. The embroidery is meant to represent those experiences as a part of our DNA. It is also essential that the different combinations of colors represent emotions and interpretations for each individual interacting with the works. I like to make people think. For the most part, people are hooked all day to a screen that is telling them what to do, what to watch, what to buy, etc. I want to make them think, feel, talk. For me, each work of the series represents many things: moods, people, moments, life experiences. I can remember the moment each was made and why I chose the particular colors I did. You have to feel what it represents for you.

Max-Steven Grossman

In his photographic series of "Bookscapes" the assembled libraries only exist in his photographs. From photos of different bookshelves, he reorganizes them into a creative digital composition of a new thematic "Bookscape". The relationship each viewer experiences is almost immediately personal depending on the theme of the particular assembled library and the viewers relationship to that theme. Some examples of "Bookscape" themes are Hollywood, Rock and Roll, Fashion, Architecture, Art, etc. His series "Seascapes" uses the same beach background, juxtaposed with another photograph to create a totally different physiological affect on the viewer. Some of the beaches have a semi truck located on them while others may have delapidated buildings. Some of the elements like the semi truck contain Grossman's other personal photographs such as the "Bookscapes" integrated into them. The final product is a photograph that makes us believe in something that would naturally be preserved as unlikely or impossible to be comprehended to be perfectly normal. It creates an escape from our realities.

Jamie Kirkland

My work is about creating a feeling of deep calm, soft stillness, expansive space and tranquility, a sense of equanimity, a secret to take rest. The process is one of transmuting paint into lyrical expressions of color and mood. I see color and composition as my primary modes of communication. My studio in Santa Fe looks out to the Sangre de Christo Mountains; recently I have been exploring the shapes of clouds in all of their many moods, bathed in rose reflected sunset light as well as the lavenders and deep blues of dusk I am interested in simplifying the landscape forms of ground plane, sky plane and horizon line to achieve a sense poetic abstraction.

Arturo Mallmann

Since I was a kid I always wanted to go to places where I could look very far away, be it the mountains, the ocean or the never ending horizon of the Argentinean Pampas. I never knew what to say when people asked me what was I looking at. I guess that what I liked was precisely that there was nothing in particular to look at, it was a great feeling of liberation. When I start a painting my first motivation is to develop a space that presents no barriers for the eyes. That is why depth is so important to me. For many years I've been developing a technique that more than creating an illusion of depth, it rather transforms the space of the painting into a semi-three-dimensional space. This technique consists of innumerable layers of translucent acrylic colors applied between several coats of clear epoxy resin. One coat of the resin equals around fifty coats of varnish. After a few coats of resin you can build up the surface of the painting up to half an inch thick or more. The interaction of all these layers of colors between the coats of clear resin not only increases the depth, it also creates a much more vibrating final effect than the one you get when the colors are applied one on top of the other, without anything in between. When I finish a painting It is difficult sometimes to tell which is the dominant color. You can say it is green or red but if you look carefully you see that whatever color you are looking at it is not just that color, but the result of multiple interactions instead. I place the human beings that appear in my paintings very far away from the viewer, usually so close to the horizon that they frequently look on the verge of disappearing. I do that not only to further increase the depth but also because I want those human beings to be surrounded by a vast , naked and mysterious universe that presents no distractions, very different from the urban environment where most people spend their lives, an environment that is hopefully more conducive to explore our selves.

Maura Segal

Maura Segal lives and has a studio in Los Angeles, California. Segal creates abstract, multi-layered artworks from papers and acrylic paint. She is deeply inspired by the Los Angeles landscape and lifestyle, from the sun-drenched plants to the bustling network of intertwining urban roads and intersections. She feels a relationship between these coexisting elements reflected in the juxtaposition of dense, geometric paper forms and the free, expressive and rhythmic lines. Her works reside at the Martin Luther King Jr. Hospital, in Los Angeles, DC JW Marriott, Presidential Suites, Washington D.C.,the Albamarie facility in Charlotte, North Carolina, the Hotel at Avalon, Alpharetta, Georgia and private collections across the United States.