These artists have caught our eye over the past few months and are topping our lists for ones to watch this Fall
 
 
TIINA PYYKKINEN
Tiina Pyykkinen, Just After - No Return, 2016, Alkyd, oil and pigment on canvas
 
When viewing Tiina Pyykkinen´s art, light is essential. Pyykkinen uses and manipulates her surface in such a way that colors and shapes reflected from the paintings appear and disappear according to one's position, allowing the viewer to experience the surface in different ways as they move around the canvas. One color turns into a different shade or even a different color, when observed from various directions. The light, shapes and reflections force the viewer to consider their relationship to art and the artwork itself. 
 
Tiina Pyykkinen, Untitled, 2013, Alkyd and pigment on canvas

In some of her latest works, Finnish-born Pyykkinen's black paint turns to a lighter, more purple shade and then segues to a multi-colored surface when the paintings reflect their surroundings. Other works have long shadows resembling an overexposed photograph that seem to take on a three-dimensional form. 

Tiina Pyykkinen, Untitled, 2017, Alkyd, oil and pigment on canvas
 
Tiina Pyykkinen is a Helsinki-based visual artist whose works have been on view at the Mänttä Art Festival in 2013, as well as at the Bury Art Museum and Sculpture Centre in Manchester, UK. Her works are included in the collections of the Finnish State Art Commission, the Saastamoinen Foundation, the Salo Art Museum, and the Paulo Foundation. Her works are currently being acquired by four other European museums.
 

RYAN BROWN
Ryan Brown, Lots on View, 2017, Acrylic, ink, watercolor and graphite on paper
 
Conceptual artist Ryan Brown has produced performances, paintings, sculptures, photographic series, and installations that both honor and interrogate modern and contemporary art and artists, as well as the historical narratives, manifestos, and market systems upon which they rely. He uses satire and mimicry to send up what he perceives as the preciousness, arrogance, and politics underlying the presentation and consideration of art. 
 
Ryan Brown, A Song of Myself, 2016, Acrylic, ink, watercolor and graphite on paper
 
In his latest works, Brown has enlarged pages from art catalogues, contending that the meaning of a work of art is bound to the context by which it is presented. There is a strong element of self-parody; pages as if tossed from a giant's catalogue are beat up, trampled, creased and jotted on. The disregard adds to the accompanying sense of disproportion and gives way to the Lewis Carrol-like feeling of having entered an alternative world that uncannily resembles our own.
 
Ryan Brown, Crisis Is A Private Obsession, 2017, Acrylic, ink, watercolor and graphite on paper
 
This project wrestles with the dissolution and collapse of Modernism and the unresolved concern for the commerce and exchange of art making, with the captions serving to both clarify and obscure this fiction. Brown's captions and titles become clues to these ideals and are an open act of deception. 
 
Brown lives and works in New York and Lima, Peru. His works are in the collection of CIFO Cisneros Fontanals Foundation, Miami; Fundacion JUMEX, Mexico City and the Zabludowicz Collection, London among others.
 
 
 
FANNY SANIN
Fanny Sanin, Acrylic No. 2, 1974, Acrylic on canvas
 
Colombian-born Fanny Sanin has been painting for over fifty years. She arrives at her symmetrical arrangements of tinted blocks with a riveting focus and unwavering commitment. Each of her paintings unfold after weeks or months of careful consideration through preparatory works on paper where Sanin grapples with both compositional elements and overall complexity. 

Fanny Sanin, Acrylic No. 1, 2015, Acrylic on canvas

Although the length and size of her block forms vary, and even though she adds color palette shifts, diagonals, curves and suggestions of depths, Sanin has adopted a bilateral symmetry in all of her works since 1974, making a life's cause out of what most abstract artists have regarded with trepidation. 
 
Fanny Sanin, Acrylic No. 11, 1979, Acrylic on canvas
 
Sanin's paintings, drawings, and prints have been exhibited widely throughout Latin America, the United States, and Europe. Presented in more than 300 group and 43 solo exhibitions, her work has prompted a variety of publications and scholarly essays, and is included in many leading public and private collections, such as the Los Angeles County Museum of Art; Museo de Arte Contemporaneo, Bogota; Museum of Fine Arts, Houston; Smithsonian American Art Museum, Washington DC, among others. 
 
 
 
LIU BOLIN
Liu Bolin, From the Runway Fashion Show, Spring Summer 2018, NY Fashion Week
 
Acclaimed international artist Liu Bolin debuted his first ready-to-wear collection under the label LIU BOLIN at New York Fashion Week. The collection fuses art and fashion into luxury wearable garments that reference work from his celebrated "Hiding in the City" photography series. (You can catch a glimpse of the original images that inspired the runway looks in the background of these fashion shots!)

Liu Bolin, From the Runway Fashion Show, Spring Summer 2018, NY Fashion Week
 
The performance artist and photographer is known for immersing himself in recognizable environments around the world, a concept that started as a "silent protest" along with a social and political critique of his country's practices in the years since its Cultural Revolution. Liu Bolin's painted body and clothes fade into his landscapes, and what remains beyond the final photograph is one of his meticulously painted uniforms, which have become an object of fascination amongst astute art collectors and fashion designers alike. Inspired by previous collaborations with fashion powerhouses such as Valentino, Jean Paul Gaultier, Missoni, Guerlain, and most recently Moncler, Liu Bolin has been developing his latest project for the last 12 years.

Liu Bolin, From the Runway Fashion Show, Spring Summer 2018, NY Fashion Week
 
The runway show and presentation was a theatrical performance inspired by and highlighting issues inherent in the 12 works Liu Bolin created in the United States around such relevant themes as capitalism, over-consumption, gun control, violence, terrorism and glamour. The exaggerated garments take on an artistic interpretation of these artworks, whereas more wearable versions will be offered for "acquisition" in small editions of 12 or less. 
 
Liu Bolin, From the Runway Fashion Show, Spring Summer 2018, NY Fashion Week
 
Each piece is hand-painted with imagery from the 12 photos and is accompanied by a certificate of authenticity and illustration, distinguishing the clothes as both fashion statements and collectible pieces of art.
 
Image below is from Bolin's Hiding in the City series which influenced this new clothing collection
Liu Bolin, Hiding in New York No. 3 - Magazine Rack, 2011, Archival pigment print
 
 
 
 
ABDUL MAZID
Abdul Mazid is an American artist based in Los Angeles, California. He studied economics at UC Santa Barbara before obtaining his MFA at Claremont Graduate University. Working across a wide range of media, Mazid uses sculpture, drawing, video, installation, and painting to explore the underlying complexities of identity as determined by micro and macro economic systems. A first generation American of Syrian and Mexican decent, Mazid draws upon his own personal experiences growing up in a hybridized cultural environment.

Abdul Mazid, Accumulation Theory, 2015, Glitter, adhesive and canvas

His diamond-shaped glitter paintings open up a conversation about the effects of structural and systemic power and knowledge. Using a multi-step silkscreen process, Mazid appropriates recognizable scenes, then abstracts them with the application of glitter. Selecting his references carefully and intentionally, Mazid pulls imagery from iconographies of global economic power, including the New York Stock Exchange trading floor and the World Series of Poker tournament in Las Vegas. 

Abdul Mazid, The Gift (new methods of wealth distribution), 2015, Glitter, adhesive and canvas
 
 
 
DAKOTA NOOT
Dakota Noot, Ponyboy, 2016, Acrylic on canvas
 
A young artist recently graduated from Claremont Graduate University, Dakota Noot explores his own hybrid identity as he reconciles the relationship between his rural North Dakota roots with his Los Angeles-based life. His dynamic canvases are saturated with color and rich, visual linguistic signs and symbols.  
 
Dakota Noot, Accept, 2016, Acrylic on canvas
 
Noot presents his own portrait in various states: between man and woman, human and animal, abstract and figurative all the while suggesting the grotesque, the humorous and the pleasurable are one and the same. 
 
 
 
JAIME GUERRERO
Jaime Guerrero, Olmec Head, 2013, Glass

Emerging artist Jaime Guerrero is recognized for his versatility in crafting unique glass sculptures that also speak to his cultural identity. He demonstrates incredible skill and ability to artistically create likenesses such that, at one point in time, were endowed with cosmic and spiritual powers. 
 
Jaime Guerrero, Idolo, 2013, Glass
 
His emphasis is on the experience of process. His latest body of work dates from the Olmec Pre-classic period to the Post classic period as far back as 1200BC and includes masks, idols, figurines and figurative sculptures from West Mexico.

Jaime Guerrero, Seated Ruler, 2017, Blown and sculpted glass
 
Guerrero gives us a glimpse into early Meso-American life and art by intuitively selecting artifacts that speak to him. He then recreates them, but he uses molten glass instead of stone to resemble the material once used by these ancient craftsmen. Guerrero brings the original masterpiece back to life in a contemporary way using modern glass-blowing techniques. With his process and research into his ancient ancestors of Mexico, Guerrero has reached a level of mastery that is uncommon in figurative glass sculpture.