DaWire

William Powhida‘s work can be considered an angry response to the movers and shakers of the art world and its hierarchical structures. But they are also well executed pieces that include, drawing, painting and critical writing, a far cry from the more common ‘hate art’ that we can easily find among frustrated artists and critics alike. In fact, Powhida, a self-proclaimed ‘reformed art critic,’ used to write for The Brooklyn Rail for years before venturing full-time into his own artistic practice.

Raymond Pettibon merges disparate elements of American iconography, re-inscribing strange and often obscured meanings into normative narrative structures reminiscent of comic strips and advertising. Emerging from the Southern California punk culture, where he was closely associated with the legendary band, Black Flag, Pettibon’s works on paper, wall drawings and films, capture the underlying forces that dominate and determine the conditions of the American psyche.[...]

For nearly thirty years, Carroll Dunham has eschewed the conventions of abstract and figurative painting, instead choosing to work within their margins. It is in the space between the two where Dunham has established a trademark style and vast body of work that is both deeply original and enormously influential.[...]

Based in Brooklyn, New York, Carlos Rodríguez uses photography, sculpture and drawing to appropriate idioms from modernism transforming them into contemporary works that often speak of the relationship between the self, the audience and the art object. Playing with the idea of reflection and likeness, the artist often uses mirrors to construct his works, such as Greeting Flower, Fertilizing My Ever Growing Garden of Fears and Kickable Mirror.[...]

A combination of painting and drawing, Omero Leyva creates large format installations where he takes on popular Mexican culture, legends and iconographic religious images to develop his visual practice.[...]

Humor is an essential component of Roberto Márquez’s work, as it allows him to poke fun at the imagined and exaggerated notions of the male self.[...]

For Mexican artist Bayrol Jiménez, drawing has no spatial limits. Explosive lines and mysterious beings create eerie scenarios, where an alternate and at times nightmarish reality is constructed. According to Bayrol, his work is like “a perpetual mutation. Neither the limitations of the support or the architectural forms are trouble; I like to play transgressing the envelopes where I can negotiate with the space.”[...]