Gary Baseman was born in 1960 in Los Angeles, CA, where he currently resides. A pervasive artist who works in fine art, illustration, toy design and film/television, his strong iconic images are at once playful and dark, childlike and thought provoking. Works by Baseman have been exhibited in New York, Los Angeles, Rome, Taipei, Bristol, Barcelona, Berlin and São Paulo, including an installation at the Pasadena Museum of California Art, a two-man show at Laguna Art Museum and a performance at Los Angeles County Museum of Art (LACMA). He is the creator and executive producer of Teacher’s Pet, a critically acclaimed animated series and film, winner of multiple Emmy awards. Baseman’s work can be seen in The New Yorker, TIME, New York Times, Rolling Stone, and on the best-selling board game Cranium.
Camille Rose Garcia was born in 1970 in Los Angeles, California. She grew up in the generic suburbs of Orange County, visiting Disneyland and going to punk shows with the other disenchanted youth of that era. Her paintings of creepy cartoon children living in wasteland fairy tales are critical commentaries on the failures of capitalist utopias, blending nostalgic pop references with a satirical slant on modern society. Creative influences include Phillip K. Dick, William Burroughs, Henry Darger, and Walt Disney. In 2007, her work was the subject of a mid-career survey at the San Jose Museum of Art. The retrospective, entitled Tragic Kingdom: The Art of Camille Rose Garcia , was the artist’s first solo museum exhibition. She has pieces in the permanent collection there, as well as in the Los Angeles Museum of Art. The artist currently lives and works in the Pacific Northwest.
Minnesota's Chris Mars originally gained renown as drummer for the seminal indie-rock band, The Replacements, but his facility with a paintbrush has made his musical career a distant memory. His luminous images combine the apocalyptic visions of Bosch with the bleakness of depression-era America. With a lesser artist, sharp-toothed skulls and deformed carnies can veer into gothic cliché, but Mars painting's contradictory gentleness and technical brilliance have made him one of the country's premier surrealists.
All objects and spaces in the spectrum of our universe have light, parts, colors, dimensions and vibrations that we normally don’t consider. For example, we don’t reflect on the springs and gears when we look at a clock. Nor do we notice everything is moving in an empty room. For thousands of years, every object and space created in our minds were locked away as existing truths. However, recently we have began to untie those truths and contemporarily, my works are created as our reminder that nothing is what it seems in our world of absolute unknowns. I bring my vision through the manipulation of photography. This began eleven years ago when I focused my specialization in photomontage. With just a camera and a scanner I observed the world, from Bahrain to Spain, from Venezuela to Seattle. Now, I have become more stationary and create through a complex process of drawing, photography and manipulation of my images. On my journey through life I began to understand that our humanity is passing in a time of conscious evolution. I observe this change and my works speak of this evolution. Historically, my hope is to aid us with tribute and remembrance of the battles, confusions, and triumphs that come hand and hand with our new reality and universal world. These feelings and thoughts are key to the development of my works. Each singular work is a connected piece of the whole, creating a various and textured picture of our world. By following my rules of light and composition, I begin photographing the montage. After the photography is complete, I bind together all of the separate images into a coherent piece. My works are normally of two formats: Abstract construction or concrete development. These formats were founded on my belief in natural development through external stimuli and internal re-observation of these stimuli. All these concepts united together create my celebration of the photomontage technique in today’s art scene.
Art is an uncontrollable passion and obsession. After many travels around the United States for such things as skateboarding and graffiti art, I found a home in San Francisco in 1997, and among other things, a great commuity to exist in and make art. The past nine years have brought me the development of a repertoire of iconic images. Through murals, paintings, installations, and drawings, I have used these images to tell stories about everyday life in America, filtering political commentary through the forms of graffiti art and underground comics, fused with clipart from the early 1900s and medieval renderings that chart the history of man and nature. The relationship between man and nature has been a re-occurring theme in my work, and also the effects of globalism and capitalism on the world. Although heavily interested in showing work and doing large multi-media installations in the gallery and museum setting, I have spent a tremendous amount of time doing murals and various work in the streets of America and abroad. I have an intense interest in painting large scale imagery on walls in the public space, that address and inform the very diverse audience of the general public, including children, about current social and political issues. -Andrew Schoultz
Jeff Soto was born in 1975 in southern California, where he currently resides with his wife Jennifer and two daughters. In 2002, he graduated with Distinction from Art Center College of Design in Pasadena, California. In 2008, his work was the subject of an exhibition at the Riverside Art Museum. Through his work, Soto communicates profound visions and fears, nostalgia of his youth, as well as themes of love, lust, and hope. His distinct color palette, subject matter, technique and bold themes resonate with a growing audience. Inspired by childhood toys, the colorful lifestyle of skateboarding and graffiti, hip-hop and popular culture, his representational work is simultaneously accessible and stimulating. Soto creates visual mythologies with ominous, quasi-divine apparitions, whose organic tendrils writhe from the cavities of their smoking, robotic shells and whose lumbering frames preside over sprawling urban landscapes. Dramatic lighting, textural richness and a sophisticated palette are his hallmarks. Soto’s sculptural sensibility and improvisational, grafitti-informed method of working is often reflected through his rich wall-cluster installations, which are an amalgam of disjointed storytelling and playful formalism.