Bohdan Burenko-"One day I came across pictures of the soldiers injured during the First and Second World Wars, their faces were completely mutilated by wounds. Some parts of their faces were just absent. The surgeon made everything possible in order to restore the faces of soldiers, they were patched with tissues from other parts of the body. They were given terrible wooden dentures for the face. I have never seen more grotesque and disturbing images. My stomach was filled with fear, and my heart was hanging in the terrible emptiness. At this point, I experienced a terrible inconvenience and discomfort. The image of these poor fellows landed down in my head for a long time. Later I realized what a powerful catalyst of emotions the destruction of the form is. I merged the idea of ​​creating destructive portraits with my style and eventually a cycle called "Gentlemen" appeared.
Visual image plays a major role in my creative work. I am trying to achieve the maximum emotional impact on the viewer with its help. For me, the person is the main theme and the main subject of art, so I depict portraits of people and human figures. I explore the nature of human existence, the relationships of people, human drama. In order the portrait to be as expressive as possible, I spend a lot of time searching for the ideal shape, and later I spend lots of time on its destruction. Correct forms or accurate representation of reality is a boring and uninteresting occupation for me. It seems to me that there is a special appeal in ugly and wrong objects. It’s hard for me to look away from the person with disabilities. I feel dreary, uncomfortable, but I can not stop looking at such a person. In my opinion, the ugliness and destruction are catalysts of strong feelings and they are also serious instruments to influence the viewer. Art should act as the causative agent, a kind of a kick, and it does not matter what kind of emotions the viewer really experiences. The most important thing is that he does not remain indifferent, and all means are good in this respect.”
  • Camera: Canon EOS 5D Mark II
  • Aperture: f/4
  • Exposure: 1/40th
  • Focal: 40mm
Bohdan Burenko-"One day I came across pictures of the soldiers injured during the First and Second World Wars, their faces were completely mutilated by wounds. Some parts of their faces were just absent. The surgeon made everything possible in order to restore the faces of soldiers, they were patched with tissues from other parts of the body. They were given terrible wooden dentures for the face. I have never seen more grotesque and disturbing images. My stomach was filled with fear, and my heart was hanging in the terrible emptiness. At this point, I experienced a terrible inconvenience and discomfort. The image of these poor fellows landed down in my head for a long time. Later I realized what a powerful catalyst of emotions the destruction of the form is. I merged the idea of ​​creating destructive portraits with my style and eventually a cycle called "Gentlemen" appeared.
Visual image plays a major role in my creative work. I am trying to achieve the maximum emotional impact on the viewer with its help. For me, the person is the main theme and the main subject of art, so I depict portraits of people and human figures. I explore the nature of human existence, the relationships of people, human drama. In order the portrait to be as expressive as possible, I spend a lot of time searching for the ideal shape, and later I spend lots of time on its destruction. Correct forms or accurate representation of reality is a boring and uninteresting occupation for me. It seems to me that there is a special appeal in ugly and wrong objects. It’s hard for me to look away from the person with disabilities. I feel dreary, uncomfortable, but I can not stop looking at such a person. In my opinion, the ugliness and destruction are catalysts of strong feelings and they are also serious instruments to influence the viewer. Art should act as the causative agent, a kind of a kick, and it does not matter what kind of emotions the viewer really experiences. The most important thing is that he does not remain indifferent, and all means are good in this respect.”

Joe Gegan- “A native Californian, I feel a deep love for the Bay Area Figurative Movement. While a student at the University of California, Davis, I had the extreme good fortune to study under Wayne Thiebaud.  I received my MFA from Boston University, working closely with John Walker. My interest is in building paintings from intuition, allowing my hand to work one step faster than I think I can control – always searching, moving, finding as I feverishly edit and re-edit until I achieve completeness.  I find painting to be a physical way of thinking, an internal discourse made concrete.  Recently, I have been using the breaking down of old paintings, both my own and those of other artists, and repurposing them through collage.  The action of this decay is psychologically penetrating and allows for interesting new associations, both personal and formal.  My painting has become increasingly sculptural, possessing a physicality that ripples with texture and moves in muscular patterns that add layers of depth.  The paintings are very much about my own reach and the movement of paint, my own physicality and touch as I endeavor to make paintings with a complex psychological presence that tries to capture the soul of a place.”

Title: Seated Man

Joe Gegan- “A native Californian, I feel a deep love for the Bay Area Figurative Movement. While a student at the University of California, Davis, I had the extreme good fortune to study under Wayne Thiebaud.  I received my MFA from Boston University, working closely with John Walker. My interest is in building paintings from intuition, allowing my hand to work one step faster than I think I can control – always searching, moving, finding as I feverishly edit and re-edit until I achieve completeness.  I find painting to be a physical way of thinking, an internal discourse made concrete.  Recently, I have been using the breaking down of old paintings, both my own and those of other artists, and repurposing them through collage.  The action of this decay is psychologically penetrating and allows for interesting new associations, both personal and formal.  My painting has become increasingly sculptural, possessing a physicality that ripples with texture and moves in muscular patterns that add layers of depth.  The paintings are very much about my own reach and the movement of paint, my own physicality and touch as I endeavor to make paintings with a complex psychological presence that tries to capture the soul of a place.”

Title: Seated Man


Richard Lapham- I have a passion for psychology,  and I focus my work on understanding human nature and our consciousness.  I’ve explored how we perceive and internalize visual information in the past, and I am currently interested in  Jung’s collective unconsciousness, specifically the idea of archetypes. Using myself as a tool of exploring the unconscious, I visually document how my mind shapes and realizes familiar archetypes in a mash of mixed media. This process usually takes me through cycles of building up a space/subject and breaking it down again. The closest I’ve come to understanding my own unconsciousness is in the moments of ambiguity between a recognizable subject and total abstraction. 

Title: Three Nude Figures  13 x 19”. $900. Mixed media (oil paint, pastel, digital c-print, white gesso). 

Richard Lapham- I have a passion for psychology,  and I focus my work on understanding human nature and our consciousness.  I’ve explored how we perceive and internalize visual information in the past, and I am currently interested in  Jung’s collective unconsciousness, specifically the idea of archetypes. Using myself as a tool of exploring the unconscious, I visually document how my mind shapes and realizes familiar archetypes in a mash of mixed media. This process usually takes me through cycles of building up a space/subject and breaking it down again. The closest I’ve come to understanding my own unconsciousness is in the moments of ambiguity between a recognizable subject and total abstraction. 

Title: Three Nude Figures  13 x 19”. $900. Mixed media (oil paint, pastel, digital c-print, white gesso). 


Henrik Aarrestad Uldalen (1986) “is a self-taught artist whose creative production revolves around classic figurative painting, presented in a contemporary manner. Henrik explores the dark sides of life, nihilism, existentialism, longing and loneliness, juxtaposed with fragile beauty. The atmosphere in his subject matter is often presented in a dream or limbo-like state, with elements of surrealism. His focus on atmospheres rather than narratives and realism leaves his painting open for many interpretations.”

Henrik Aarrestad Uldalen (1986) “is a self-taught artist whose creative production revolves around classic figurative painting, presented in a contemporary manner. Henrik explores the dark sides of life, nihilism, existentialism, longing and loneliness, juxtaposed with fragile beauty. The atmosphere in his subject matter is often presented in a dream or limbo-like state, with elements of surrealism. His focus on atmospheres rather than narratives and realism leaves his painting open for many interpretations.”


Erik Jones ”Was born in 1982 in a sunny beach community in St. Petersburg Florida. He received a bachelor’s degree from Ringling College of Art and Design in 2007. Out of college, Working primarily in cover illustration, Erik toured the US, showing at different pop culture and art conventions. He gradually made his way to Brooklyn, New York in 2009, where he now resides. 
  Erik’s work is vibrant and colorful, expressing a heightened sense of realism, captured in his female subjects, juxtaposed with sporadic mark making and nonrepresentational forms that could be said to mimic geometric high-end fashion. This effect is achieved by using multiple mediums such as watercolor, colored pencil, acrylic, water-soluble wax pastel and water-soluble oil on paper mounted to board.”

Title: Ribbon
Erik Jones ”Was born in 1982 in a sunny beach community in St. Petersburg Florida. 
He received a bachelor’s degree from Ringling College of Art and Design in 2007. 
Out of college, Working primarily in cover illustration, Erik toured the US, showing 
at different pop culture and art conventions. He gradually made his way to 
Brooklyn, New York in 2009, where he now resides. 
  Erik’s work is vibrant and colorful, expressing a heightened sense of realism, captured 
in his female subjects, juxtaposed with sporadic mark making and nonrepresentational 
forms that could be said to mimic geometric high-end fashion. This effect is achieved by 
using multiple mediums such as watercolor, colored pencil, acrylic, water-soluble wax pastel and water-soluble oil on paper mounted to board.”
Title: Ribbon

Conrad Roset “Spent the first part of his 29 years in Terrassa, his native city, among boxes of crayons, felt-tip pens and notebooks; the other part in Barcelona, surrounded by paints, moleskine notebooks, muses, colored pencils, and in the company of his gray cat. Drawing has been his passion and a constant feature in his life, since he played with his brother at drawing everything they liked until, years later, he draw inspiration from women to create the Muses, his most personal collection. “I search the beauty the body exudes, I like drawing the female figure.”He received his education at the Joso School and at the Faculty of Fine Arts in Barcelona. Thanks to the spreading of his illustrations through the Internet, he started working for Zara. There, he says, he learnt about his trade, about regularity, and how to study styles of reference illustrators. A year later, he launched himself as a freelance artist, and since then he works for different brands, advertising agencies, and publishing companies.
He has exhibited his work in galleries and museums, such as the MOMA in Virginia, Spoke Art in San Francisco, London Miles in London, Tipos Infames in Madrid, and Artevistas and Miscelanea in Barcelona. Besides, he is a professor of illustration at the School of Design BAU.”

Title: Malva

Conrad Roset “Spent the first part of his 29 years in Terrassa, his native city, among boxes of crayons, felt-tip pens and notebooks; the other part in Barcelona, surrounded by paints, moleskine notebooks, muses, colored pencils, and in the company of his gray cat. Drawing has been his passion and a constant feature in his life, since he played with his brother at drawing everything they liked until, years later, he draw inspiration from women to create the Muses, his most personal collection. “I search the beauty the body exudes, I like drawing the female figure.”
He received his education at the Joso School and at the Faculty of Fine Arts in Barcelona. Thanks to the spreading of his illustrations through the Internet, he started working for Zara. There, he says, he learnt about his trade, about regularity, and how to study styles of reference illustrators. A year later, he launched himself as a freelance artist, and since then he works for different brands, advertising agencies, and publishing companies.

He has exhibited his work in galleries and museums, such as the MOMA in Virginia, Spoke Art in San Francisco, London Miles in London, Tipos Infames in Madrid, and Artevistas and Miscelanea in Barcelona. Besides, he is a professor of illustration at the School of Design BAU.”

Title: Malva