Los Angeles based artist Cameron Gray's garish multimedia works straddle the line between traditional collage and futuristic technology, comfort and the disquieting uncanny. His large-scale installations flash, blink, twirl, and pulse, forming entire walls of utter pandemonium to create all-encompassing environments of hyper-realized pop culture. He overwhelms the viewer with visual and auditory white noise found from the vast space of the Internet, calling our attention to the accessibility and absurdity of the infinite possibilities lying one click away. Digitally manipulated posters of famed actors, models, and pop stars reference the chasm between celebrity, society, and reality. As Gray descends into the deepest realms of the web world, we can only look on and marvel at the chaos we have created.

Jan De Vliegher's paintings reference the artist's obsessive hunt for otherwise overlooked porcelain objects, marble busts, lush gardens, and fascination with the painting experience. Like a cultural anthropologist, De Vliegher meticulously documents his variegated inspirations in traditional museum context, contrasting lush colors, dramatic brushstrokes and overpowering scale with an otherwise controlled subject matter. The subsequent rush-infused paintings transcend their representational qualities and assume the commanding presence of contemporary abstractions.  

Brooklyn-based sculptor and urban voyeur Will Kurtz meticulously constructs life-size figures modeled after personal acquaintances and eye-catching characters casually encountered in and around his Bushwick neighborhood. Constructed of easily accessible, everyday household materials such as glue, newspaper, masking tape, screws and wood, his sculptures are imbued with an immediate sense of comfort and familiarity. In his PULSE-specific installation, Kurtz proves his uncanny facility for depicting sincere and utterly unapologetic mosaic of New Yorkers in their blunt, colorful, and borderline-manic idiosyncrasies, with an irreverent yet impressive attention to detail and body language and subtle cultural nuances.                  

Based in Berlin, Stefanie Gutheil's harlequin paintings are intensely personal, sexually political, and directly referential to the history of German painting. Gutheil adorns her surfaces with fabric, foil, hair, latex, jewelry, metal balls, carnivalesque landscapes and fetish-like objects, giving unruly and darkly comic characters free reign over impossible architecture and boundless space. Portraying grotesque characterizations of people encountered throughout Berlin, Gutheil breathes life into androgynous, transmogrified creatures and queer misfits whose vile exuberance is simultaneously repulsive and endearing.                   

Israeli artist Yigal Ozeri makes photorealistic oil paintings capturing the spirit of his subjects enveloped in the beauty of a vast landscape, from lush rainforests to arid deserts. Thousands of tiny brushstrokes animate the paintings' surfaces and give way to uncanny realism, overt beauty, and seductive power, instilling works with a momentary, fleeting quality and elements of romanticism, fairy tale, and fantasy. Masterfully capturing play of light, shadow, spontaneous movement, and a magnetic synthesis of subject and nature, Ozeri's latest works allow viewers to gaze into landscapes of profound intimacy and emotional insight.