the collective 57

Fabien Delaube - “Picasso was my first influence
i used to travel a lot, and, instead of taking photos of people i meat,i had to take time to draw their faces just in remembering, and fixe their own personality as I could..
I love grece and her story, her different gods, the ancient greeks writers(Homer , Sophocle..) that’s why I give greek names to some of my paintings
as well as the Japanese story, the cambodge and thailand and China too.
I used to work a lot for theatres and i loved the way that a man can act and be someone else.
I’m interrested too by the way that a lot of people hide their real personnality behind a strong static hard mask..and behind the mask, there always a fragil human being.”

Title: Belelgeuse

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

Photographer Richard Brocken’s ”meditative images of daughter Eva capture the quiet introspection behind our personal evolution.”

They knew everything about us though we couldn’t fathom them at all. We knew finally that the girls were really woman in disguise.” -Jeffrey Eugenides


Four Furniture Ornaments  Depicting the Tyches of Alexandria, Rome, Constantinople and Antioch. From the Esquiline Treasure, Late 4th Century CE 

The Esquiline Treasure is a collection of over 57 different silver objects discovered in 1793 at the foot of the Esquiline Hill in Rome. All of the pieces date to 4th century CE, during the Late Roman Empire.

The Esquiline Treasure is important for the presence of silversmithing in the Late Roman Empire. Although a number of large late Roman hoards have been discovered, most are from the fringes of the empire (such as Carthage or Roman Britain), and very few objects from the period can be presumed to have been made by silversmiths in Rome itself. The Esquiline treasure is also considered some of the finest examples of metalwork in the Late Antiquity. 

The Esquiline Treasure is also important for the syncretism between Hellenistic religions and Christianity during Late Antiquity. The iconography of the figurative decoration of the treasure is purely pagan, depicting nereids, mythical creatures, and figures like Venus, Tyche and the muses. However, inscriptions on the Project Casket and other pieces in the treasure, suggest that some of the objects had Christian owners. The Esquiline Treasure reflects the survival of Hellenistic traditions, and that many Christians still embraced pagan images, despite the proscription of Hellenistic religion and establishment of Christianity as the official religion of the Roman Empire in the late 4th century CE.

The four Tyches, as well as the rest of the Esquiline Treasure, are on display at the British Museum

Tran Nguyen- "is a Georgia-based gallery artist and freelance illustrator. Born in Vietnam and raised in the States, she is fascinated with creating visuals that can be used as a psycho-therapeutic support vehicle, exploring the mind’s landscape. Her paintings are created with a soft, delicate quality using colored pencil and acrylic on paper.

Nguyen has worked for clients such as Playboy, Tor, McDonald’s, Chateau St. Michelle Winery, and has showcased with galleries in California, New York, Spain, and Italy. She is currently represented by Richard Solomon and Thinkspace gallery.“

Title: Imagine

I have a strong gathering instinct. I collect boxes, hats, rusty flattened bottlecaps for collages and creek-worn sticks to color with my hoard of Berol prismacolor pencils. When I was a kid I’d lie in bed imagining I was a squirrel who lived in a hollow tree, foraging for acorns, twigs and whatever it takes to make squirrel furniture.

Most of us have collections. I ask people all the time in workshops, Do you collect anything? Stamps? Shells? ’57 Chevys? Raccoons? Money? Leopards ? Meteorites? Wisecracks? What a coincidence, I collect them too. Hats, coins, cougars, old Studebakers. That is, I collect the words. Pith helmet, fragment, Frigidaire, Quarrel, love seat, lily.
I gather them into my journal.

The great thing about collecting words is they’re free; you can borrow them, trade them in, or toss them out. I’m trading in (and literally composting) some of my other collections— driftwood, acorns and bits of colored Easter egg shell—for words. Words are lightweight, unbreakable, portable, and they’re everywhere. You can even make them up. Frebrent, bezoncular, zuber. Someone made up the word padiddle.

A word can trigger or inspire a poem; and words in a stack or thin list can make up poems. Because I always carry my journal with me, I’m likely to jot down words on trains, in the car, at boring meetings (where I appear to be taking notes), on hikes and in bed.“

– quote from Susan Wooldridge’s book called “Poemcrazy: Freeing Your Life with Words

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

Stefano Bonazzi- ”Is a self-taught web designer and digital artist hailing from Ferrara, Italy. Bonazzi uses a unique combination of techniques from charcoal drawing, photo editing, and digital photography to produce his works.

“All my work is infused with the prospect of life as a snub, a disillusioned and cynical vision that leads me to concentrate on the negative aspects of things. This way I look at reality, however, does not want to be a disenchantment end in itself, but rather an alternative viewpoint to spread niceness and false constituent of the bottom of our society. My creative path winds through the representation of states of mind tormented, but never definitive.

I am fascinated by the infinite shades in between that color our contemporary life, I love the gray rather than black and white. The feelings of anxiety and discomfort, which in some way belong to each of us, as well as the approach that we have about death, it usually issues hidden by a company that paints itself as omnipotent and ethereal, are the focal points around wheel to which my work. Misleading image of a false reality loaded artificial colors, dyes prefer a picturesque vision and reduced most essential. I find it particularly congenial to the realization of my representations digital technologies, a veritable kaleidoscope of nuances of expression that allows the artist to infinitely expand its scope of intervention and evaluation. ”

Title: A Bad Dream

劉正堃 Abei, Cheng Kun Liu“I’m a designer who lived and based in Taipei, Taiwan.I create stuff with digital software. And I started to do my illustration projects when I have leisure time. My drawing theme and subjects are always related to the fashion industry and people who work in it.To me, these people are the most simple people. They just simply love the fashion things.And I hope that everyone can feel the fun in fashion through my observation and creation.”

Title: Man on a Car

Albert Stern (Stickrust) “My paintings are not portraits. They are inspired from the work I do as an acupuncturist and body worker. As a healer I work with my clients’ bodies as well as their energy, spirit, and personal power. Through this healing work, I watch people transform, grow and find their Personal Light. Transformation is not always easy or pretty but it is always beautiful. It is a powerful journey full of darkness and light. My paintings look to capture the beauty of the journey.  These paintings are created with my hands, fingers, and minimal tools. No brushes are used. Albert paints, teaches, and works with clients in Denver CO." 

Christian Espino- My work is about  expressing a metaphysical side to a subject or entity rather than being an actual representation of it , it should be a curious reminder of the emotions and history each one us carry around but easily dismissed as the past , hopefully the work is able to reach the viewers in a very private experience that invites them to search into the unknown.

Kenor (Barcelona)- “Kenor’s organic, kaleidoscopic productions are geometric representations of sound and movement, visual interpretations of music and dance in two-dimensional form. Whilst the production of art must always be understood as a performative act then, Kenor’s images are saturated with this corporeal trace, artefactual remnants of his burning energy. Their multicolored, effervescent hues, their fluid, protean contours, mean we are forced to enter into, to travel into his paintings, to travel within his “abstract architecture”, his architecture “floating in the cosmos”.

Up until 2000, Kenor was focussed on more traditional urban art, obsessed with typography, logos, and textual experimentation. Yet as the Barcelona movement gathered pace, Kenor found himself wrapped up within the changes, forming designs which functioned as “parallel worlds, dreams, hopes, illusions, questions, options and exits”. His urge to transform the city, to counteract the ever encroaching grey with a wealth of colour, has been one which connects these two phases in his career however, an irrepressible urge to “decorate the dead cities”, to make the street a “gallery for everyone”. What thus moves him is the texture of the city, the “boundaries”, the “abandoned, damaged, worn” parts of the street. These sites call him, seduce him, they necessitate repair, resuscitation, reanimation. Kenor has thus become something of a spokesperson (through both his words and images) against the increasing commodification, the greyification of Barcelona, a spokesperson against the new laws which have come to repress so much of the cities previously active street-life. From skateboarding to performance art, break-dancing to busking, street practices have been curtailed whilst the city still attempts to market itself through its liberal, cultural heritage: “They made their own city, and their evolution goes the way they choose, yet it also contaminates the future, keeping marks for another kind of culture in our streets…They want to promote only for their interest. They support for a day the same people they punish to win the sympathy of the young people”.

Despite this, Kenor has continued to produce, to revivify the city, his works increasing to a now monumental size, covering walls all over the world. Yet he has also moved into new realms, not only installatory and sculptural, but a deeper progression into video and performance art. Films such as “Floating Points”, “Dentro de mi”, and in particular "Cualquier lugar, un dia cualquiera”, more readily display the connection between dance and inscription, the choreography of the image. Like a living organism, Kenor thus simply wants his work to keep constantly evolving, to “re-create spaces of freedom”, submitting the viewer to “endless options”. Whatever medium he works within then, he wants the recipient of the image to be a “free player”, a player “able to choose and imagine a new dimension that allows it to grow”, one unrestricted by the image, captured by infinite possibilities of the line.“

Title: Desconstruccion Energia 195 x 130 Barcelona