Joël Guzman is a Toronto-based artist who’s work focuses on blurring the lines between surface, support and the space the artwork occupies. Joël attended OCAD University, and received a Bachelor of Fine Arts degree majoring in Drawing and Painting.
Nick Giassullo is a digital artist working in the film industry for the past six years in San Francisco, Vancouver BC, Los Angeles, & Portland OR. In the 1990’s Nick naturally started out as an artist working in the medium of oil paints, pen & ink, printmaking, and traditional photography. In the early 2000’s he started gravitating more towards digital work with a growing passion for film. Since then he’s been motivated by the future of technology and how it can help push the craft for clients and his personal creative endeavors. Nick has contributed for projects such as FX Original Taboo featuring Tom Hardy, Netflix Original Stranger Things, Pirates of the Caribbean 5, San Andreas, & Iron Man 3.
We are back with yet another amazing edition of our online magazine, issue number 23. This publication includes image features from Skape289, Solero, “Reset” group exhibition at Athen B. Gallery, and interviews with Dan Hampe, Denial, Ruffpup Flykidd, Skor and Rafael Sliks.
Click on the image of follow this link HERE to read for free.
Investigating the process of expectations, ColorOrgy explores the relationship of daily life with popular culture and mass media. Using clean lines and brilliant color theories to invoke nostalgia, he subtly asks the viewer to reflect on what lies beneath the surface using their own memories. Blending the aesthetics of middle class values with provocative imagery, ColorOrgy challenges everyday subject matter.
His paintings are characterized by the use of everyday objects in an atmosphere of middle-class mentality in which recognition plays an important role. By using popular themes such as sexuality, family structure and violence, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing. ColorOrgy parodies mass media and exaggerates formal aspects inherent to our contemporary society, creating evocative and absurd moments that are not part of a narrative thread. The drama unfolds elsewhere and the images become a memory of an event that will never take place.