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CLICK TO PURCHASE THE BOOK HERE $40

This unofficial book is finally here, celebrating 2010 to 2015 of the Con Artist Collective. Limited to only 200 copies in this first edition, there are only 50 available for sale.

“A brilliant collective building it the old-fashioned way, out of themselves, inspired by vision, passion, smarts and skill. Electric!” - Jerry Saltz
 Senior Art Critic; New York Magazine

PICK UP THE BOOK WEDNESDAY SEPTEMBER 2nd, 2pm to 8pm Solas Studios 117 East 24th Street Suite 2D (2nd Floor) NY NY 10010

A SPECIAL NOTE FROM BRIAN SHEVLN

From the bottom of my heart, I humbly thank you for your gracious patience with this massively delayed and overdue book. I could write an entire book filled with the stories that contributed to this book being so incredibly far behind schedule. Still, I am happy with how this unofficial book, “Five Years Inside A New York City Lower East Side Art Collective, 2010 to 2015” turned out.

The book still isn’t perfect, and there are many artists, artworks, moments, and more that just didn’t make it into the final version, often because the images were lost or worse. Due to numerous restraints that guided this final book, there just were some things that didn’t make it. Perhaps one day we'll get the chance to make a book covering all 10 years the collective existed.

WHAT DOES IT MEAN THAT THIS BOOK IS UNOFFICIAL?

Well, basically I was unable to get legal permission to use copyrighted material for this book from the new company that owns the intellectual property that is the Con Artist Collective. I do not know if the Con Artist Collective ever plans to print an official book, but please consider accepting this book as a personal thank you from me for your support.

Thank you again to our two sponsors that financially supported the actual making of this book, from the printing to the costs of getting it into each of your hands.

I hope you enjoy this book as much as we enjoyed living it.

Order and reserve your copy now at https://mailchi.mp/bad2ae413fe0/5-years-book

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Gizem Vural “Talking Lines”

On View: December 17th - December 22nd, 2018 Opening Party: December 18th 6pm - 10pm Hours: Tuesday thru Sunday, 11am - 6pm

Gizem Vural creates her own language of lines that talk.  

Through her editorial illustrations, she explores abstract storytelling. Seeming almost impulsively drawn, Gizem translates her story into layers of lines, carefully composed on paper. “I intended to create and experiment the interaction between lines and shapes to create visually and aesthetically pleasing compositions for the viewer.”  

She works mainly with colored pencil on paper, and expresses the pleasure of creating textures and gradients solely by using her hand's pressure. Her technique and high craftsmanship make Talking Lines possible. This is her first solo exhibition as an artist and all works including prints and original sketches are shown exclusively at Lazy Susan Gallery.  

About the Artist Gizem Vural is an award-winning illustrator based in New York. Born in Istanbul, Turkey, she studied graphic design at Mimar Sinan University of Fine Arts. After dropping out in 2012 she moved to New York, and established herself as an illustrator. Her work has been featured in many publications including The New Yorker, The New York Times and The Atlantic, and she has been recognized by American Illustration, the prestigious competition in the US, and awarded three medals from Society of Illustrators. In 2018 she took a break from drawing for editorial pieces and focus on creating abstract work on paper.

https://www.gizemvural.net

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Bree Chapin “Anxiety Descending”

One Day Only: November 5th, 2019 7pm-10pm

Bree Chapin’s first solo show, scheduled the same day as National election. Bring in your “I Voted” for a special limited edition print.

Chapin is a New York City-based visual artist working in painting, collage, and mixed media. Her work is known for its use of bright, aggressive colors, metallics, and feverish imagery. She experiments with materials including paint, metallic foils, collage, silkscreen, and plastic throughout her process. Bree’s work appears regularly in galleries and other art spaces primarily around New York City.

https://breemakesart.com

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Thomas Nickles Project Presents: Sandra Cordero’s “Planet Sandra”

On View: October 10th – 13th, 2019 Opening Party: Thursday, October 10th, 6pm-8pm Hours: Friday & Saturday, 10am-8pm; Sunday, 11am-6pm

Thomas Nickles Project with the support of the Cuban Artists Fund presents the first New York solo exhibition by Cuban artist Sandra Cordero, (b. Havana, Cuba 1979), Planeta Sandra. This will be the first solo exhibition of the artist’s work in New York City. The artist will be present.

We join the artist on a journey of discovery to a world where precision cut, multi-layered and dimensional paper collages spring to life as the whimsical personalities that make up the thriving inhabitants of Planeta Sandra. With an explorer’s eye and a botanist’s discipline, Sandra meticulously catalogs each specimen by genus and species with invented scientific names. “In these collages, I deconstruct everyday forms to create new narratives. Through the use of nature, science and whimsy, I invent new landscapes and environments in a visual language that is uniquely my own.”

https://www.thomasnickles.com/sandra-cordero

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“As Solid As Fog” Group Show

Reception: September 26th 6pm-9pm

“The mountain is as solid as fog, as translucent as the undertow, as possessed as the ocean” – Etel Adnan in “Journey to Tamalpais” 1986

This exhibition of the work of artists Ana Calzavara, Benjamin Lankton and Sara Woster, features their shared focus on landscapes that convey enormous depth and meaning. The imagery is ambiguous, transporting us to real or imagined places, in scenes that can suggest dreams or memories, at once particular while also universal. What we can recognize is a landscape and a melancholy. They invite us to contemplate and find our place within them.

When I look at the works of Benjamin Lankton, Sara Woster and Ana Calzavara I remember walks I’ve taken and places I’ve visited. We can also imagine the places where we would like to go, or places we long to return to. – Gisela Gueiros, September 2019

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“ITZYBITZY” curated by Christine Mottau

On View: September 13th-19th 12pm-7pm Opening Reception: September 14th 4-7pm

We all know that big is easy to view. It demands attention. The concept of scale vs. size, and what determines what is important in contemporary art, has been an on going discussion.

But smaller does not mean less relevant. Small can suggest intimacy, introspection, and requires the viewer to focus, drawing them in a quiet and refined way. Likened to listening to a whisper, it requires your active participation. Smaller works require the viewer to look closely. What becomes relational scale, and how we often interpret importance based on size, can be reconsidered if the work is complete in all of its forms.

The largest work in this exhibition is sized 6” x 8”

Cover image “Flea Circus “by Nicole Heinze. Wikipedia defines a flea circus as, “a circus sideshow attraction in which fleas are attached (or appear to be attached) to miniature carts and other items, and encouraged to perform circus acts within a small housing.”

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Sanpo Matsumoto "URBAN SPIRIT(S)"

On View: August 30th 1pm-10pm Opening Reception: August 30th 7pm-10pm

Summoning URBAN SPIRIT(S) from an ordinary street corner, URBAN SPIRIT(S) are supernatural beings, spiritual entities, and they are living next to our dairy life. URBAN SPIRIT(S) are called "gods" or sometime called "devil" by humans. Humans judge their category with the usefulness for the human's life.

URBAN SPIRIT(S) are born from various invisible phenomena and live on human's emotions. Faith makes them to highest being, while lower level SPIRIT(S) are similar like mischievous children. But higher level SPIRIT(S) have high intelligence and affectionate heart.

One day pop up exhibition by film maker, fine artist, electronic musician, and multimedia artist, Sanpo Matsumoto.

http://sanpo.yu-yake.com/ https://www.instagram.com/sanpo_matsumoto/

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Russell Murphy’s “Fine Art Show”

On View: August 13th - August 16th, 2018 daily 11am to 6pm 
Opening Party: August 14th 6pm - 9pm

Lazy Susan Gallery is pleased to present "Russell Murphy’s Fine Art Show.” A selection of studio work spanning the past decade. Born in Buffalo New York, Murphy has earned legitimacy and respect as a graffiti artist “writing” Cash4 since the mid aughts. Around that same time, he also began showing his artwork in galleries under a variety of names, from Cash4 to Cassius Fowler, and now Russell Murphy. This exhibition features work traversing an even wider assortment of mediums, from paintings on canvas, paper and poster board, to drawings, sculptural collages, painted bottles and found objects, to public installations, including his iconic “Cash4 signs.” Mixing acrylic and oil paint with the tools commonly found in the streets, from spray cans and fire extinguishers, to paint pens and markers, Murphy layers media and image chaotically, partial to capturing the intensity of an instinctive stroke.


After studying as an architect at Syracuse University, Russell Murphy has explored the fusion of highbrow and lowbrow, a theme that can be traced throughout his work. Murphy abstracts anything to it’s character, from portraits to landscape paintings, often portraying the New York City urban environment in a postmodern Superflat style. Employing the marketing language of political campaigns and protest posters, the viewer is coerced to expect a moral statement or message. “I’m an apathist” is how Murphy depicts himself, a classic vandal attitude, preferring the label of playful anarchist or messianic messenger. Yet it's clear that 15 plus years of passionate and determined work both in and out of the studio have honed his talent and technique.

Vice Magazine by Ray Mock https://www.vice.com/en_us/article/3b4vdb/writers-block-cash4-mock-the-vote-2016

Cash4 at Pandemic Gallery https://untappedcities.com/2014/02/10/from-the-street-to-the-studio-nyc-graffiti-artist-cash-4-at-pandemic-gallery-in-brooklyn/

Gothamist “The Daily News Kissing Photo” https://gothamist.com/2012/09/08/graffiti_artist_cash_4_gets_unwante.php#photo-1

"Last Kiss Graffiti Artist Busted Again" https://nypost.com/2014/01/29/cops-net-last-kiss-tagger-4-others-in-graffiti-bust/

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Justin Aversano Twin Flames ”Enter-Mission”

On View: July 11th - July 18th, 2018 daily 12pm to 6pm Opening Party: July 11th 7pm - 10pm

Made in the honor of Justin's mother and fraternal twin, Twin Flames survey's 100 portraits of twins from around the world presented as a photographic exploration of the phenomenology of twins.

 This new collection of photographs explores Aversano’s eclectically-recorded stories about 100 pairs of twins. Twin Flames is an immaculate journey, pushing the boundaries of sociopolitical agenda, culture, tradition, and art by exposing the beauty, comedies, tragedies and all-around humanity of 'twinhood'.

Justin Aversano, b. 1992, is an artist and curator based in New York, NY. Aversano studied at the School of Visual Arts in New York graduating in 2014 with a concentration in photography. Aversano has exhibited work in Brooklyn and Manhattan.

There will be a secret art show gathering in a public space from 11am-6pm, before the exhibition launches at Lazy Susan Gallery at 7pm. To participate in the secret event, please contact TwinxFlames@gmail.com for location.

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Yi Gallery Presents: Kind Of Green

On View: June 1st-11th Daily 11am-6pm Opening Reception: June 1st, 3-6pm 

A group exhibition comprised of art and design works by Anne Katrine Senstad, Si Jie Loo, Jamie Martinez, and Studio Roosegaarde will be on view starting June 1st, 2019. Society is faced with climate change, pollution, rising sea levels, and massive ecologically driven migration. Many sustainable lifestyle theories advise people to “buy green,” invest in a “clean” car or only eat organic food. 

But is it wise to rely on consumerism to provide a solution to the very problems it has helped create? In this interdisciplinary exhibition, artists and designers think beyond “eco” art made from recycled materials or projects that simply paint an apocalyptic scene in order to address the urgent and ongoing ecological challenges the planet is faced with.

Anne Katrine Senstad  Memorial piece, The River of Migration, existed as a large outdoor light and land installation at Life is Art Foundation in 2010. The piece consisted of 72 solar-powered lights placed along a mountainside in Santa Rosa, CA. They formed a symbolic “human river” on what was historically Mexican land. Each of the 72 lights refers to a specific case where a person was brutally massacred by cartels after refusing to be used as a drug trafficker. Using light to create a memorial, Senstad illuminated the urgent migration issue with her symbolic river of light. The project honored the 72 nameless souls who died during the migration process and simultaneously spoke for all victims of migratory violence. The solar panel lights were lit from dusk till dawn, when most people cross borders illegally, and illustrated the very nature of the migratory action. The lights created a geographical mapping of the California landscape and served as a gestural, lyrical, and critical comment on migration policies, border wall politics, and the intensifying climate and political refugee crisis. Unnatural deaths of migrants are intimately connected to climate change and resource enclosures fueled by the growth of global wealth inequality. It is critical to revisit this work today as it raises awareness of the new, and more elaborate, forms of  human trafficking as a global business as well as the financial structures on which it capitalizes. 

Si Jie Loo  Wall installation, Privilege of Taste, consists of ceramic cups and sourced coffee powders that sit on two contrasting shelves. Through her work, she visualizes the complicated relationship between choice and the illusion or lack of choice and points to the unbalanced power between labor and consumption in our society. The Malaysian coffee that Loo grew up drinking is sweet tasting and light brown. It is made from a lower grade coffee powder mixed with hot water and condensed milk. There was no comparison between tasting the powdery coffee like residue and the “fair trade” coffee, grown in exotic African countries, served by gourmet coffee shops in developed economies. During colonial times, the British took the best quality coffee for exporting. The remnant of imperial power embodied in today’s global economy continues to enable the sale of higher-end Arabica coffee so that it can be enjoyed in the UK and other powerful and developed markets. Similarly, Malaysia exports higher-grade oil and gas and imports a lower grade from abroad for local use. The majority of people in her father’s village earned their living by rubber tapping - a process that involves collecting latex from a rubber tree. When Loo was a child, her grandparents and neighbors were asleep by 8pm and were up for work at 2 am so that they could collect rubber milk for processing. Although developing nations like Malaysia are known for supplying some of the best natural resources to the developed markets, the lives of the vast majority of laborers are nowhere close to the luxurious lifestyle of the people who benefit from their labor. Today, Loo is an artist living in the western world producing what is considered to be a luxury good. While making art is laborious and sometimes soul-baring, consuming art usually takes place in a clean, pristine, and often sterile white box by a privileged minority of wealthy clients. To Loo, how we taste coffee serves as a metaphor for the profound difference between the elitist contemporary art connoisseurship and the cultural producers who supply it. 

Jamie Martinez Oil painting on cotton, VR Unity Global Warming, is a direct response to the intensifying threat of climate change. An empty hot dog truck, a Chimera, a pyramid, flying parachutes, an isolated ladder, and mountains submerged by flood waters are among the elements that make up the surreal composition. Martinez’s process involves using Virtual Reality software to construct a collage of visual fragments. He then translates the VR simulation into an oil painting in order to document this new dream-like dimension that was created in the virtual world. Although a human figure is not visible in the painting, the cataclysmic scene suggests that anthropocentric activities on earth contribute to accelerated global temperature and rising sea levels, which will eventually lead to mass extinction. Actions to correct these problems must be massive and collective.

THE SMOG FREE PROJECT  Is a long term campaign for clean air in which Daan Roosegaarde and his team of experts have created the world's first smog vacuum cleaner. The 7-meter tall SMOG FREE TOWER uses patented positive ionisation technology to produce smog free air in public spaces and allows people to breathe and experience clean air for free. Creating a tangible souvenir, Roosegaarde designed the SMOG FREE RING, which is comprised of compressed smog particles. Roosegaarde has been inspired by nature's gifts, such light emitting fireflies and jellyfish, from an early age. His fascination for nature and technology is reflected in his iconic works such as WATERLICHT (a virtual flood which shows the force of water), and SMART HIGHWAY (roads that charge throughout the day and glow at night). “A lot of the problems we’re facing—rising sea levels, air pollution—are, to me, an issue of bad design,” Roosegaarde tells Fortune in an interview. “We have created this current situation, now we have to design our way out of it.” To Roosegaarde, design is about setting goals for our future and creating standards to achieve that vision. The Dutch artist and entrepreneur has a name for it: ‘schoonheid’ meaning beautiful and clean. This concept takes shape in new social core values like clean air, clean water, and clean energy. 

For additional information, please contact Cecilia Zhang Jalboukh at cecilia@gallery-yi.com or +1 (929) 356-6087.

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Tomaso Albertini “Portraits of Reflection”

On View: May 20th-23rd, Daily 12pm-6pm Gallery Party: May 21st, 6pm-10pm

Portraits of Reflection is a collection of icons, three-dimensional sculptural canvases formed with painted cardboard, presented by Artist Tomaso Albertini. Born in Milan, Italy (1984) where he attended the School of Comics in Milan, his first professional work of large format paintings concentrated on a serious investigation of color. After this initial period, there was a big change in his creative path, and Albertini began to experiment with new materials. He wanted the work to be more physical - more direct.

Working with a disposable material like cardboard has allowed him to accomplish the figure as if it were a object, then adding paint to it as if it were a canvas. This technique introduced dynamics approaching sculpture, which in fact, is a hybrid of the manifestation of the artist’s innermost visions.

Albertini has worked with Fat Free Art and Sotheby’s, among other relevant galleries and auction houses and has been featured on manifold publications including D/railed Mag and The Guardian.

Sotheby’s Video Interview: https://www.sothebys.com/en/videos/old-masters-meet-the-streets?locale=en

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Friends

On View: May 25th-30th, Daily 11am-6pm Opening Reception: May 24th, 6pm-Late

Featuring work by: @jetfuelcantmeltvegancheese @catgubernick @tedgusek @erickosse @nancyloeber @marshalllacount @dansmellyal8r @estefaniavelezart @_coopervasquez_

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Drift

On View May 16th 1-11pm, May 17th 1-10pm, May 18th 1-6pm Opening Reception: May 16th 6-11pm: Performance by Vidal  The accumulation of color + texture, intent + error, labor + time is the amassing of meaning as oil paint on canvas. The undertow of influence gathers identity, memory, and mimesis together in drift, a three-day exhibition of new paintings by Gregg Bautista, Sam Pullin, and Fabricio Suarez.

On the second evening of the exhibition, composer Brian Lawlor will immerse drift in a site specific soundscape, manifesting cross-medium currents through live performance.

Gregg Bautista is a painter whose work explores the experiences of Latinx migrants, as well as his own Andean heritage. Gregg is interested in how identity is affected by the circumstances of cultural assimilation or integration, displacement, and ideological shifts resulting from migration…Inspired by traditional Andean weaving, in addition to oral history as record, he views the intertwining of conversations, research, and visual spaces as a manner of collaborating with individuals, cultures, and time. He seeks to use the spaces created in his paintings to take himself into his cultural past while bringing the past to himself. Equally, he aims to use the collaborative exchanges and resulting works as a platform to celebrate and share stories from those who are otherwise underrepresented. Gregg received his BFA from Mason Gross School of the Arts at Rutgers University, and currently works out of Newark, NJ.

Sam Pullin is a multimedia artist living and working in Jersey City, NJ. He has exhibited extensively in galleries across the Tristate Area, Philadelphia, and Maine. Pullin has painted several public pieces, including Spaceman II, a large scale astronaut-based trompe l’oeil. In 2017, Pullin was an ESKFF artist in residence at Mana Contemporary. In addition to his visual art practice, Pullin is the drummer for Cruelty, a Jersey City based sludge metal band.Grounded in his early life in Jersey City, Pullin’s practice is focused on the deterioration of societal, economic, and political systems. Using allegorical imagery, Pullin explores institutional and individual conformity to established and fringe structures of value. Pullin’s practice is that of an urban surrealist: His juxtaposition of unanticipated objects and figures; subjects and materials is at once dreamlike and disillusioning.

Fabricio Suarez is an artist from Uruguay working in Jersey City, NJ where he lives with his wife and son. He received a BFA in Fine Arts and illustration from the School of Visual Arts, where he was awarded the David Rhodes President Scholarship. Between 2005 and 2009 Suarez published eight children’s books as a freelance illustrator. His paintings have been shown in numerous group exhibitions in NJ, NY & LA. He has participated in residencies with ESKFF at Mana Contemporary in Jersey City, and Artists Off-the-Grid in Red Feather Lakes, Colorado.Suarez’s current studio practice is a nod to both Abstract and Baroque ideas. Where wild abstract brushstrokes act as ‘characters” that form a narrative in the landscape. Grotesque portraits and ghostly images hunt the Royals in these paintings. ‘Like putting Goya and Bosch and Richter in a blender.

Brian Lawlor is a composer, multi-instrumentalist, performer, and educator residing in Jersey City. A fervent collaborator, he is the music director for Seattle theater group Saint Genet -- conducting, composing, and performing for/with a variety of ensembles (from chamber orchestra to synth trio). Recent engagements include On the Boards, Museum of Contemporary Canadian Art, DonauFestival, New Island Festival, and Works & Process at the Guggenheim. Lawlor earned a BM from Cornish College of the Arts, an MM from SUNY Purchase, and studied at the Koninklijk Conservatorium in Den Haag. In 2005, he was named Keogh Dwyer Correctional Facility's ‘most promising inmate.’

For more information contact info@nosucharts.com.

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“Infinitness”

Opening Reception: Wednesday May 15th 6-9pm 

Curated by Gisela Gueiros featuring works by Maeve D’Arcy and Thalita  Thalita Hamoui As Hamaoui’s practice has developed, she has felt an awareness of the need for rituals when creating her art. Coupled with an increasing desire for silence, they generate a meditative and generous environment  for being present in the act of making. Hamaoui recently left her hometown of São Paulo and moved to Lisbon, Portugal. The move invited her to reflect on space, scale and belonging. The color green has gained a prominence in her most recent work conjuring the sultry green landscape of Brazil. Like plants that are transplanted from nature to vases to become transportable, Hamaoui has quickly learned that we must bloom where we are planted. Maeve D’Arcy By marking the passage of time with each dot of the brush point, D’Arcy gives shape and representation to every minute spent in her studio. There is a power in the accumulation, with the only limit defined by the canvas edge. The paintings are deceptively flexible and simple. While she spreads her creative energy into dots of paint, they respond in turn by becoming an independent body that renders each dot as irrelevant as it is decisive - like a voice in the screaming crowd, or musical notes in a composition. Each mark is equally important in balancing the canvas — what you see is where you start. The problems get resolved within the parameter of the canvas, even without clarifying what is the beginning or what is the end. Get lost to find yourself. Make a mess to organize.

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Mark Chu “Salon”

Opening Reception: May 11th, 3pm-11pm.

SALON is an intimate collection of paintings that continue Chu's experiments with color, mark-making, and abstraction. "I hope my balance of palette, texture, and rhythmic composition advances my works’ resonance. Referential motifs intentionally locate my work in the context of art history. Some models are from life and others are imagined."

The Artist's motivation for this show was to consolidate the style he has been forwarding for the past seven years. The reason is because in June, the artist will study a one-month intensive course at the Santa Fe Institute, and research the intersection of art and Complex Systems, one of science’s newest branches. "I believe artists and the public have much to gain from a quantitative conception of art, in asking questions like: Is art biological? What is art’s domain? Is art entropy reduction? Curiosity has consistently driven me in life."

SALON marks the artist's final exhibition before the influence of science on Chu's art practice.

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Kathryn Rose The Walls Between Us”

Opening Reception: Friday, May 10, 2019 7-10pm

A one night pop up exhibition with specialty cocktails provided by Illegal Mezcal and delicacies and hors d'oeuvres from Riverdel.

The subjects in the miniature oil paintings from "The Walls Between Us" are the social walls in which have been slowly constructed between us over time. This solo exhibition by Kathryn Rose touches on these topics, these walls that divide us--- specifically those of gender, race and nationality.

The multitudinous formation of roses intricately painted throughout this series is the main theme of "The Walls Between Us". The artists uses roses as symbols representing women who are often similarly described as delicate and fragile. She paints this series as miniatures to depict smallness, and of being perceived as small or insignificant. In "The Walls Between Us" Kathryn Rose explores various methods in which to break these walls down and discard these beliefs and social structures.

Ladders are painted in a similar fashion as the roses, in abundance, in formation, yet they are often seen only under a magnifying glass. Perched on these ladders are tiny men all of which surround the female figure. These men are clutching small tools, chisels and mallets, ever so delicately breaking away at the invisible but ever-present walls that divide them.

Trained as a traditional oil painter, Kathryn Rose paints photorealistic portraits with a whimsical twist. Throughout all of her pieces scale is used as a way to stretch the limits of imagination and to put emphasis on certain ideas or themes. The often barely visible things in her works are where the stories and commentary are hidden. She paints with the smallest brushes available, while wearing jeweler's glasses. Each painting displays a central figure that acts as a theatre for tiny painted people to perform stories. Typically beside each piece a magnifying glass is hung in order see the minutely painted details.

Press: https://wsimag.com/art/53687-the-walls-between-us

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The Structure of Color

On View: April 30th-May 5th, 2019 Opening Party: May 3rd, 6pm-10pm Gallery Hours: Daily 12pm-6pm 

“The Structure of Color” is a group show featuring the work of 3 artists who evoke a post-minimalist approach to color and line which create geometric abstractions that allude to form and space. Mitch Reardon’s maze-like works feature strong edges and vibrant colors that create both a sense of structure and disarray. Bettina Vaz Guimarães’ planes of color explore new ways of seeing simple layered patterns across a two dimensional plane. Emily Capkanis’ chaotic assemblage of lines and forms build contradicting parallel planes that present a snapshot perspective of this virtual abstract space. All three artist may employ simple shapes, blocks of color, or straight and curved lines, yet these abstracted forms shape references to giant places, objects and new virtual spaces.

Review by AS Studios published on Medium