2025 Grant Recipients
Elise Adibi
Pittsburgh, PA
Blue Tansy Mirasol Grid, 2024
Graphite, oil paint and blue tansy and lemon essential plant oil raw canvas sized with rabbit skin glue
40 x 40 in.
Elise Adibi holds a Master of Architecture from the University of Pennsylvania and an MFA from Columbia University. She is the recipient of fellowships and grants from the Terra Foundation, the Pollock-Krasner Foundation, The Radcliffe Institute of Advanced Study, and the Pittsburgh Foundation, among others. Her work has been shown in galleries in New York, Los Angeles, and Frankfurt, Germany, in addition to solo exhibitions at The Frick Pittsburgh and Allegheny College.
“I am an abstract painter. I am an explorer at heart. In my paintings, I investigate perception and optical experience, as well as the conceptual realm of ideas. Throughout my career, I have sought to bring abstract forms to life. My paintings invite contemplation about the connection between matter and consciousness, life and death, the passage of time, and the process of change. In my paintings, I collaborate with natural materials and create works that can change and adapt. They are resilient. I feel this is a message that extends beyond painting and has contemporary relevance for humans today.”
J Stoner Blackwell
Bennington, VT
@jstonerblackwell
Neveruses (Flex Courageous), 2024
Plastic, wool, silk, acrylic, yarn and paint
32 x 24 in.
J Stoner Blackwell was born in 1972 in New Orleans, LA. Currently based in Bennington, VT, Blackwell is a faculty member in Visual Arts at Bennington College. Honors include fellowships from the Guggenheim Foundation and Pollock-Krasner Foundation as well as residencies at Delfina Foundation, Yaddo, the Josef and Anni Albers Foundation, and Santa Fe Art Institute, among others. Blackwell’s work has been exhibited at the Museum of Arts and Design, New York, Mackintosh Gallery, Glasgow School of Art, Contemporary Arts Center in New Orleans, and MoMA PS1. Their work was included in Vitamin T: Threads + Textiles in Contemporary Art, published by Phaidon Press.
“I am a painter in the broadest sense of the term. Investigating the intersections of painting, textiles, installation, and found objects, I focus on the meaning of materials and their possibilities through manual manipulation and visual play. In my studio, androgynous hybrid painting-objects called Neveruses (pronounced “never uses”) emerge from a mass of recovered plastic bags, colorful fibers, and paint. The work reconsiders conventions of waste, craft, and pleasure.”
Buddy Bunting
Seattle, WA
@buddybunting
Basketball court, county jail, Ephrata, Washington, 2024
Oil on linen
11 x 14 in.
Buddy Bunting’s work has been exhibited at Tacoma Art Museum, PS122 in New York, and the Chrysler Museum in Norfolk, VA. Upon leaving art school, he worked for the National Park Service and as a field technician and scientific illustrator at the Virginia Institute of Marine Science. After moving to Seattle in 1997, he began a group of landscape paintings of prisons throughout the American West. Starting as a travelogue of small field sketches, these works grew in size over the next decade to 30-foot-long panoramas.
“When I was in art school in Baltimore in the 1980s a new prison was built near my hometown, in rural Somerset county, Maryland. Five years after it opened, a childhood friend began serving 25 years there, having pleaded guilty to manslaughter. This circumstance led to my first visit and subsequent drawing of a prison. That drawing grew into a long fascination with the western landscape, its mythology of transcendence, openness, and expansion. When I moved to the Pacific Northwest in 1997, my interest in these ideas and the booming American penal system grew. In 2010, I shifted to using oil paint and working quickly on a more modest scale. I painted new subjects related to the penitentiaries I’d been to: basketball courts, skateboard parks, churches, schools, and motel rooms. I worked to capture the character and nuance of these places, the feeling of sunlight on concrete at a certain time of day, even the smell of the air.”
Edgar Cano
Natchitoches, LA
@edgarcanostudio
The queen is he, 2024
Oil on linen
60 × 55 in.
Edgar Cano began his journey in the visual arts by creating illustrations and scenography for university theater while studying at the Faculty of Arts in Xalapa, Veracruz, Mexico. A recipient of multiple scholarships and awards, he has presented eighteen solo exhibitions in Mexico and abroad and has participated in over fifty group shows in various international cities. Cano moved to Louisiana to pursue an MA in Visual Arts at Northwestern State University of Louisiana on a full scholarship. He currently lives in Natchitoches with his family and serves as an Assistant Professor of Art at NSULA.
“The painting I do is simultaneously interested in its own process and in events that come from unusual aspects of everyday life. I use my own or others' experiences, coming from old archives as well as from my photographic collection, as a visual narrative. With my images, I try to generate a chronicle. This language expands the message or accentuates a sort of script in order to create different evocations and a kind of convergence point where the author, the viewer, and the memory will be located. A wink of unreality peers through some of the cracks in my works to warn those who see that something does not fit, that everything is not as it is thought, that the established world breaks down on its most fragile side, by the least thought of.”
Michelle Charles
London, United Kingdom
@michellecharles_artist
Iced Water, 2025
Paint on paper
34 × 24 in.
Born in London in 1959, Michelle Charles spent her formative 20 years as an artist, making and exhibiting her work across various locations in the United States. In 2001, she temporarily returned to London due to complications from 9/11. Her work has been exhibited at Danese Gallery, Anthony Grant, John Weber Gallery, Art in General, and The New Museum of Contemporary Art, all in New York, as well as the Neuberger Museum of Art in Purchase, NY, the Lodz Biennale in Poland, and Kettle's Yard in Cambridge, UK.
"Since the mid-eighties, I have made paintings and drawings of objects on various surfaces—including wooden panels, canvas, the covers of withdrawn library books, grocery bags, paper, and silk. My subjects have included crystal balls, glasses of water, glasses of milk, glasses with milk residue stains, empty glasses filled with air, light, and shadows, as well as jars of honey, bottles, flies, and soap. I have chosen items that serve as metaphors for my ideas and that are fluid and liquid enough to become paintings. Running through my work are the themes of glass, light, and containers."
Lynn Fulton
Southwell, United Kingdom
@lynncfulton
Kiosk, 2024
Plywood, gesso
42 x 20 x 15 in.
Lynn Fulton graduated from Bath Academy of Art in 1987 and after some time involved in artist-led organizations in Manchester and London went on to study at The Slade on the sculpture MFA, which she completed in 1997. She was awarded a Boise travel scholarship in 1999 and spent three months in New York. The recipient of several residencies and a 2023/24 Abbey Fellowship at the British School at Rome, Lynn Fulton has exhibited internationally.
“My work is sculpture-based and comes from an interest in the overlooked or remnant that is left behind after something else has happened. I use flat materials to explore form and presence, informed by landscape and dress patterns. Landscape is a place where I find ideas that I connect with, where hidden instruction informs pattern and colour, surface describes what lies beneath. More recent work explores sculpture, which has many ways of existing folded or open, and that contains all these possibilities at the same time. This comes from a concern with the stored or passive form waiting to be activated, the potential of the storeroom. I use the offcuts of larger pieces to make smaller works. The offcut as an idea is interesting to me – it is a work in itself that has come about under very specific conditions. The conditions for the work to happen is a significant focus.”
Carrie Gundersdorf
Brooklyn, NY
@carriegund
Moncuri Cone, back, 2024
Colored pencil and watercolor on paper
28 x 22 in.
Carrie Gundersdorf lives and works in Brooklyn, NY and Portland, ME. She has had solo exhibitions at La Loma Projects, Los Angeles, CA; the Museum of Contemporary Art, Chicago, IL; and Shane Campbell Gallery, Chicago, IL. Featured in group exhibitions throughout the U.S., Gundersdorf’s work has been reviewed in Art Review, Artforum, Artnet, Art on Paper, Chicago Tribune, and Time Out Chicago. She was awarded the Artadia Award in Chicago, IL, and the Bingham Fellowship to attend the Skowhegan School of Painting and Sculpture. Gundersdorf received her B.A. from Connecticut College and her M.F.A. from the School of the Art Institute of Chicago.
“I connect science, craft, images, and process in my paintings and drawings. My current work explores the variety and subtle differences in the patterned surfaces of seashells. Each piece transcribes a specific shell, with the patterns conveying themes of time, growth, and impermanence. The artworks also serve as maps of their creation, as the color test swatches left on the side and the slight color shifts reveal my decisions and discoveries throughout the artistic process. Forms, patterns, and colors that serve as starting points for my compositions are sourced from photographs found in science books and online.”
Sharon Hall
London, United Kingdom
@sharonhallartist
Painting for a corner II, 2024
Oil on gesso panels
16 x 20 in. each panel
Sharon Hall was born in the United Kingdom in 1954. She studied painting at Lanchester Polytechnic, Coventry, and Slade School of Fine Art, London. After finishing her studies, she lived and worked as a painter in Paris with a scholarship from the French Government. In 1991 she was awarded a scholarship and residential studio at the British School at Rome, Italy. In 2024, she was the recipient of the Shelagh Cluett Trust Award which enabled her to live and work in a studio at the Alice Boner Institute in Varanasi, Uttar Pradesh, India for six weeks. Her work has been featured in group and solo exhibitions in the UK, France, and Italy. She will be holding a solo exhibition at Stanza 251 in Florence, Italy in 2025.
“The paintings employ a system of divisions moving away and in from the edges of the painting’s physical boundaries following an intuitive and often precarious compositional balance. Optical colour of different luminosities brings forward expressive possibilities and while essentially abstract I hope to invite a viewing experience which is about feeling and nuance beyond the simple architectonic. Shifting movement is generated through colour contrast, flux and dissonance. The work over the last few decades has been very much influenced by Italian painting traditions, especially those seen in wall paintings and frescoes where the physical materiality of surface is at play with the depicted spaces.”
Annie Hayes
Delhi, NY
@anniehayesart
Beer-4, 2024
Flashe, acrylic, pastel, pencil on flattened beer caddy
10 x 6.75 in.
Annie Hayes earned a BFA from The University of Iowa. In 1980, she moved to New York and established a small, highly respected graphic design firm while also maintaining her studio practice and exhibiting her work. She was selected for artist residencies at Vermont Studio Center, Anderson Ranch in Colorado, and the Ellis-Beauregard Foundation in Maine, and has been awarded grants from the New York Foundation for the Arts and the New York State Council on the Arts. Most recently, her work was featured in a solo show at KIPNZ Gallery in upstate NY and a three person show at the KIPNZ temporary space in Manhattan. She has lived and worked in the Northern Catskills of New York since 1990.
“I primarily work with discarded packaging that has served its usefulness in storing, transporting and displaying food and commercial goods. The connection between my work as an artist and the workers who use the boxes in their jobs to transport food is subliminal, vague and felt, not expressly spelled out. Concerns about sustainability, about over abundance, about favoring the too easily attainable “new” are subconscious drivers in my work. The paintings’ surfaces, with their brokenness, disturbed corners, tears and rips revealing the interior ask the viewer to move away from perfection and the expected and toward embracing in a new way material that has served a function that we all invariably depend on.”
Frederick Hayes
Brooklyn, NY
@fhay_00
Gargoyle Stack, 2024
Wood, metal, LED string of lights, cardboard, turned wood, plastic propeller, rubber sole, plastic car parts, twine, clipboard, electric fan frame
35 x 25 x 19 in.
Frederick Hayes is a Brooklyn-based artist working in drawing, painting, and sculpture. At the San Francisco Art Institute, he studied with Robert Colescott who suggested that he work from photographs, a practice he has maintained to this day. In 2010, he made sculptural contributions to the 3rd Street Light Rail (Art Train) in San Francisco, CA. His work was featured in solo exhibitions in Buffalo, NY and New York, NY and was included in the 2015 Kingston Sculpture Biennial and in “Black Anatomy” at the Spartanburg Museum in Spartanburg, SC. Honors include a Pollock Krasner Grant, a NYFA Artist Fellowship, and the Lillian Orlowsky and William Freed Foundation Grant and Exhibition.
“The major focus of my work is portraiture and the urban environment of working-class African Americans. I work in drawing, painting, and sculpture and am interested in the imaginary conversations that I believe take place with the viewer whenever they are confronted by the gaze of the portrait as it looks out and sometimes beyond the viewer. In general, my work is informed by a certain degree of uncontrollability and the notion of the "primal other" constantly experimenting. I work within specific parameters at the start, but I always allow and seek change.”
Kaoru Hirano
Hiroshima, Japan
@kaoru_hirano_
Web #16, 2024
Stockings
Dimensions variable
Kaoru Hirano was born in Nagasaki in 1975. She obtained her Ph.D. from Hiroshima City University in 2003 and has exhibited internationally, including at KUMUKUMU, New York, SCAI THE BATHHOUSE, Tokyo, POLA MUSEUM OF ART, Kanagawa, mm project, Hiroshima, and Kulturforum, Berlin, among others. She was the recipient of a SHISEIDO Art Egg Award in 2007 as well as Fellowships from the Asian Cultural Council’s Japan-United States Arts Program at ISCP, New York, and the Agency for Cultural Affairs, Japan’s Emerging Artist Overseas Study Grant, Berlin, Germany, and the POLA ART FOUNDATION's Overseas Study Program for Young Artists, Berlin, Germany.
“I take threads from old cloth one by one. The cloth seems to remember the time that it was worn by somebody, or caught the rain in some city, or hung in the sky. I take the threads from the old cloth one by one. One by one. One by one. The threads taken from the cloth are tied and arranged in order. The cloth is unraveled into threads one by one and broken into pieces. The threads are no longer used as clothes or umbrellas, or flags, but are left as threads and memory. The memory is of me, my family, friends, city, country, or humanity.”
Bryan Ida
Los Angeles, CA
@bryanida
“Grandfather” The text is from Executive Order no. 9066 which established military areas excluding those of Japanese descent and establishing the internment camps., 2018
Ink on panel
36 x 28 in.
Bryan Ida initially studied electronic music and sound design but when he worked as Sam Francis’ studio assistant in the mid-80s, he realized that the artistic language most natural for him was visual. He was fortunate to start painting in one of Francis’ fully-equipped studios and has been a full-time artist since. He has exhibited widely, with solo exhibitions at the Bakersfield Museum of Art, De Saisset Museum at Santa Clara University, and the Japanese American Museum, San Jose, among others.
“I completed the first portrait of my ongoing series titled “con.Text” in 2017 using black ink on panel. The portrait was a response to the newly-elected president using Twitter to justify his ban on entry to the United States of followers of the Muslim religion. I rendered my neighbor, who is Muslim, using the words of President Trump’s tweets as my mark, writing the text over and over, wanting to turn words of hatred and animosity into a visual language of strength and beauty. I continued with this concept, completing another portrait based on a photograph taken by Dorothea Lange of my grandfather and his family waiting to board a bus that would take them away to an internment camp during WWII. I used the words of Executive Order 9066 that established the internment camps for Japanese Americans to render my grandfather. These were two events that occurred 70 years apart that were directly connected through me and I could feel the inspiration forming inside me.”
Jason Karolak
Brooklyn, NY
@jasonkarolak
Eyrie, 2024
Oil on linen
22 × 19 in.
Jason Karolak (born 1974, Rochester, MI) earned a BFA from Pratt Institute, Brooklyn, NY and an MFA from The School of the Art Institute of Chicago, Chicago, IL. Recent solo exhibitions include Grölle Galerie, Düsseldorf, Germany; Morgan Lehman Gallery, New York, NY; David Shelton Gallery, Houston, TX; and the Boulder Museum of Contemporary Art, Boulder, CO. Group exhibitions include Kavi Gupta, Chicago, IL; The Landing Gallery, Los Angeles, CA; and the Museum Wilhelm Morgner, Soest, Germany. Karolak’s work has been reviewed in The New York Times, Art in America, ARTnews, and Hyperallergic. He has been awarded residencies at the Sharpe-Walentas Studio Program in Brooklyn, NY, the Saltonstall Arts Colony in Ithaca, NY, and the Josef & Anni Albers Foundation in Sinthian, Senegal. He received a Mellon Foundation Grant for his research on color. Karolak is an Associate Professor at Drew University in Madison, NJ. He lives and works in Brooklyn, NY.
“I make abstract, geometric paintings as a way to process information and concrete experiences in the world. This begins with gathering and collecting, as I pull from my environment and the vernacular of the objects and design that I encounter. My research extends to interests in utopian architecture and communal societies, musical structures, screen technologies, and color phenomena. This material is digested through an iterative drawing practice where forms are reworked and clarified in multiple stages, becoming usable components or anchors within the paintings. Color is organized into floating, illuminated structures, suggesting a kind of imagined or speculative architecture, set within a projected space.”
Lauris Mīlbrets
Riga, Latvia
@milbrets.art
DIVERSITY, 2024
Acrylic on wood
15 × 20 in.
Lauris Mīlbrets (b.1979) holds a Bachelor's and Master's degree in Visual Arts from the Art Academy of Latvia and has been participating in exhibitions since 2002. Lauris has experienced two distinct phases in his career—one marked by realism and the other by abstraction. Lauris was recipient of a 2003 Latvian Unibank "Professor's Indulis Zariņš" painters award. Being selected for the Toronto Outdoor Art Exhibition in 2014 marked a significant career moment, offering exposure to a broad, diverse audience at one of Canada’s major art festivals. Later, receiving a scholarship in 2017 from the Ministry of Culture of Latvia for a residency at "Cité Internationale des Arts" in Paris allowed him to refine his practice, and broaden his creative perspective. His works are in collections in Latvia, USA, Canada, Norway, Denmark and Germany.
“My abstract art focuses on signals as carriers of information and explores them through a visual language that communicates beyond literal representation. Use of shapes, lines, and colors serves as a metaphor for signals - abstract elements that carry meaning and evoke different interpretations. The dynamic arrangement of these visual components can be seen as symbolic of how signals in communication systems (whether human, technological, spiritual or natural) transmit information, influence perception, and create connections.”
Johannes Rave
Stuttgart, Germany
@johannesrave
Balance, 2024
Watercolor
35 × 23 in.
Johannes Rave, born in 1955 in Stuttgart, Germany, studied at the State Academy of Fine Arts Stuttgart from 1978 to 1986 under the mentorship of Professor Rudolf Schoofs. During this time, he developed a strong foundation in watercolor and oil painting that has remained central to his practice. Throughout his prolific career, Rave has exhibited in over 100 shows in Germany and abroad. His sustained dedication to artistic development has earned him numerous distinctions.
"My current work centers on watercolor paintings on paper. For years, I have been exploring the interaction of color with different surfaces. I am particularly interested in how colors behave on various types of paper—how they merge, contrast, retreat, or assert themselves. In some pieces, tension arises from layers of overlapping color fields; in others, the colors stand independently. While I tend towards abstraction, my work often maintains associative qualities. Despite the creative freedom within my process, my goal is always clarity. Whether through calm or unrest, dynamism or reflection, the key is making clear, intentional artistic decisions. The Balance series captures the fleeting moment when equilibrium is achieved but cannot be maintained. This fragile stability lies in the nature of watercolor painting itself. Abstract forms in fragile positions are often held in place by fine lines. In this series, I translate the unbalanced world into a visual language that reveals vulnerability, yet also expresses a quiet confidence through color, clarity, and connecting elements."
Jayanta Roy
Kolkata, India
@m2jayanta
Waste land II, 2024
Watercolor and gouache on paper
29 x 22 in.
Jayanta Roy (b. 1973) has been a Kolkata-based artist for 27 years. His primary medium is painting, though he explores sculpture as well. Roy participated in several two-person shows and curatorial projects over the last couple of decades; his most recent solo exhibition–the second one to date–was last year. He has twice received the Pollock-Krasner grant (2013 & 2023), in addition to several other awards throughout his career. What is more, Roy’s work was included in 100 Painters of Tomorrow (Thames & Hudson, 2014).
“Early on, I was fascinated by American abstract painting. I was brought up in an antiquated part of Kolkata, where I was drawn to dilapidated buildings, congested neighborhoods, and old architecture. Moving to a suburb of the city in 2003 was a pivotal change that influenced my work. Indian society faced waves of cultural change due to economic liberalization and the overwhelming impact of technology. Visual and conceptual references from advertisements inspired me to shape a new vocabulary. My images became more conceptual, where ideas were more important than visual experience. The current phase in my work emerged during the uncertainties of the Covid pandemic. A form of existential irreverence reminiscent of the Dada movement challenged aesthetic conventions and cultural normativity by underscoring chance and incongruity. My recent series of works in monochrome, titled Wasteland, stylistically and iconographically builds on surrealism. I use numerous common signs, such as war weapons, guns, children’s toys, in landscapes. There is a quasi-narrative in each work that addresses aspects of current geopolitics.”
Sanjay Singh
Bangalore, India
Mishap, 2024
Acrylic on canvas
48 x 30 in.
Born in Purnea, Bihar, India (1963), Sanjay was exposed to local folk and tribal art that inspired and prompted him to pursue art. Initially, he completed his B.A. Hons. in Maithili literature from Mithila University, Bihar (1982). Later he obtained bachelors and masters degrees in painting at Kala Bhavan, Santiniketan, an institution founded by Nobel Laureate Rabindranath Tagore. He assisted artist K.G. Subramanyan’s murals in Santiniketan and has continued his art practice, participating in state and national level group shows since 1985, including the workshop ‘Impressions-the New India’ 1992 sponsored by TATA steel. He held his first solo show in 1999 and has since exhibited in various cities in India.
“The simplicity of life at Santiniketan was of fascination to me from my student days. Sketching the streets, road side eateries, people and their activities was my routine. My literature background helped me probe deeper into the simple appearances and activities of the common man. Gradually I manipulated the compositional structures to enhance the brooding narratives. I am an observer of society. My surroundings, people, their expressions and gestures, all play an important role in my paintings. My paintings are not documentary, but a reflection of changing times. I am transferring the essence of the city, the neighbourhood, and the spirit of the times I live in. I bring forth that which is often taken for granted to the centre stage for the viewer.”
Hadi Tabatabai
San Francisco, CA
@abumisha
From Blue, 2024
Polyester thread, acrylic paint and aluminum on dibond panel
24.125 x 21.625 x 1.125 in.
Born in Mashhad, Iran in 1964, Hadi Tabatabai immigrated to the United States in 1977. He received a BS in Industrial Technology from California State University, Fresno, in 1985 and a BFA in Painting from the San Francisco Art Institute in 1995, spending his final semester at the Academy of Fine Arts in Prague, Czech Republic. Tabatabai’s work has been exhibited in London, Paris, Turin, Bonn, Frankfurt, and across the United States and is in numerous public and private collections internationally, including the San Francisco Museum of Modern Art.
“During a trip to Vienna, I unexpectedly encountered a series of ink drawings by Agnes Martin. Although initially uninterested, the impact lingered. Six months later, at the Berkeley Art Museum, I found myself in a room with a collection of square paintings by Martin—horizontal bands of varying gray shades with pencil lines defining the edges at regular intervals. This experience profoundly affected me with its simplicity and directness. From then on, my art shifted from storytelling to mark-making—a singular narrative: the human experience. My artwork is a combination of drawing, painting, and sculpture that describes a place that is as much an idea as a physical location. I view the ‘line’ as empty space without an agenda or allegiance; it is neither here nor there. I have found that by paying attention to this tiny, subtle, yet detailed space, one is forced to turn away from the outside world and focus inward on one’s own interior space.
Michelle Weinberg
New York, NY
@mwpinkblue
Seeing Double, 2024
Colored pencil, crayon, and graphite on paper
22 x 16 in.
Michelle Weinberg’s work has been presented in solo exhibitions at ArtBridge/Studio 502, New York, NY, Outer Space, Miami, Pulp Holyoke, Holyoke, MA, Schoolhouse Gallery, Provincetown, MA, Robert Rauschenberg Gallery, Ft. Myers, FL, and Corcoran Gallery of Art, Washington, D.C., among others. In addition to many public art commissions, she has done residencies at MacDowell, Yaddo, Mass MoCA, Fine Arts Work Center in Provincetown and Corsicana Artists and Writers in TX, among others. She is the recipient of two Pollock-Krasner Awards, a NYSCA Individual Artist Grant, a NYFA Fellowship, and others.
“My painting and drawing is composed of eccentric, flickering patterns that become structural, architectures or stage sets. Pastel and hothouse color, personalized geometry, and hand-painted typography all conspire to create new spaces for making thoughts visible. Much of my expression concerns the artist's studio, as a site of playful physics. The observable reality of my surroundings leaks into my pictures, creating parables of my career, a forensics of my habitual workplace tools, processes, and arrangements. The stage set metaphor is apt, as many of my invented figures migrate throughout my works like actors on a stage, disappearing here, re-appearing there. I alternate between working in fully saturated color in a painterly way on paper and canvas, and making black line drawings using carbon transfer. In these, the imagery is transferred from one side of the page to the other: a process that resembles engraving/etching, yielding half-tones/ghost images, a kind of pseudo printmaking, possibly influenced by my architect father's blueprint machine in our home.”
Uroš Weinberger
Ljubljana, Slovenia
@urosweinberger
N. D. E., 2023
Oil on canvas
63 x 78 in.
Uroš Weinberger (born 1975, Trbovlje, Slovenia) is a contemporary figural painter. His works bring out social awareness, dealing with local and global problems that influence our daily lives. He completed a Master’s degree in painting at the Academy of Fine Arts and Design in Ljubljana, Slovenia, in 2005. He received the Prešeren Student Award (2001) and he was recipient of the highest artistic recognition for important works of art, University of Ljubljana, Slovenia (2018). His art series include Seven Sisters, Projectories, Neoanthromes, among others. He continuously exhibits in Slovenian and international galleries and his artworks are included in public and private collections.
“My artworks talk about fundamental questions about the nature of the future, the future of nature and the role of man in a post-technological world. My work problematizes the use of high-tech tools for the extraction and exploitation of natural resources, the discipline of »bodies« and the management of population and mass phenomena such as birth rate, morbidity, work capacity, migrations and public safety, as well as the economic and biological segregation of »bodies«. I am currently working on transforming the image into a media surface dominated by glitches, momentary or prolonged freezes of movement that create mosaic, static surfaces and patterns, and are considered a general cliché in media expression.”