Michael Tunk takes photographs and magazines from the 1800’s-1980’s and re-contextualizes them into something beautiful. He takes refused detritus and spins a yarn of gold. He takes the weight from a hoarders home and fixes it into aesthetic candy. His pieces are never photoshopped, he uses only Xacto blades and what’s left of the bones in his wrists.

Artwork: “The Unknown Rider Killshot”

My desk is usually cluttered with magazines and cut-out pictures from magazines ranging from the 1920s to the 1970s. I move the cut-outs around, flip through the magazines, looking for something that clicks with the background image I’ve chosen, or the phrase, joke, or pun repeating in my head. That’s how it goes. “One of these days”, I tell myself, “I’ll organize all of this into subject matter.” But I don’t think I’m being truthful with myself; I need the mess for that gem to jump out.

Artwork: “Life or Death”

Pons Maar chooses only the tastiest, top quality images from undisclosed archives. He combines them in ways that confuse and delight.

Artwork: Isthmus Of Raquel

For the show Small Worlds I created a series of insect illustrations. These illustrations evoke nostalgia for the work of early naturalists before the advent of the camera. Emily Bonnes is the assistant manager at Redux Studios and Gallery in Alameda.

Artwork: Snail

Justin Angelos was born in 1971 in Los Angeles, Ca. After spending many years on the road with a job in the tradeshow industry Justin now lives in Burlingame, Ca where he is a fulltime stay at home dad and artist. Life, death, loss and rebirth play a major role in the forming of many of his ideas. He is inspired by the current state of our world and the debris man leaves in his wake. Primitive culture, the animal world and to today’s fast paced and disposable society add fuel to his work.

Artwork: Clergy

As a child, I lived in a wonder world of faeries, witches, science fiction and botany. Not much has changed, the only difference being that I record all of my thoughts and stories in the form of intricately cut and pieced together collages. I like everything old and a little tired so I seek out images and photographs that are antique, vintage and forgotten. I transform these paper memories and records into other worldly creatures who are sometimes static like specimens and at other times are surviving in a unique habitat. I am rooted in the tradition of old fashioned childhood where discovery was at the bottom of the garden in amongst the crushed leaves, the lilac and the fungi. I hope that the creatures I uncovered in that quiet landscape are reflected in my collages.

Artwork: Fundiform

Punk Art Sur­re­al­ist Win­ston Smith, a mas­ter of “hand-carved” col­lage, has been craft­ing his thought-provoking art since the 1970’s. After being abroad for six years, Win­ston returned to Amer­ica and was aston­ished by the com­pla­cency the Amer­i­can pub­lic exhib­ited towards the cor­po­rate dom­i­na­tion in their soci­ety. Win­ston began tak­ing “safe” images from mag­a­zines and com­bin­ing them to cre­ate polit­i­cally charged works of art that chal­lenge the viewer to con­front incon­gruities and polit­i­cal para­doxes of mod­ern soci­ety.

Artwork: “When Think Tanks Think”

Kate Mink is a Scottish mixed media artist living in Berkeley. Using collage, encaustic and silkscreen techniques, Kate traps found images and old paper between waxen layers, embroiders lost photographs with threads and beads to create new lives for forgotten things.

Artwork: “Mes petites”

Cara Davis is from Ladbroke Grove, London, England where she creative ability was developed. Drawn to South Africa aged 20 she worked and travelled, discovering the richness of the region. Soon after her journey of discovery brought her to California. Now living and working in Alameda, California here she was reawakened to the power of artistic expression to make sense of the world.

Artwork: One Day Dreams Will Come True

Frank Morison is a cut-and-paste collage artist based in Oakland. Primarily using print materials of the 20th century and present day, his artwork attempts to synthesize current affairs and culture in light of their historical development, or else to produce a non-temporal expression altogether. Contradiction and honesty on the page demonstrate his view of collage as a medium critical of our society.

Artwork: California III

The lines that form Owen Everett’s detailed images of machinery and urban tangle are automatons in their own right. They form a dense societal structure that shapes their appearance, the direction in which they move, and their intersection with other lines. The sum of their parts may collectively appear to form a circle or a polygon that may in turn resemble a mechanical finger, or a building’s cornice. That the interaction of these lines collected forms an image, that in turn can be assigned intent, is incidental. The primary intent of each line is to exist, and to form a stable foundation for the next line. In such, Owen’s work is as much a product of process, as in celebration and expression.

Artwork: Hammer Titan

As humans, we are often inertly drawn to images which are high in occult, religious or metaphysical symbolism. Across cultures, the same myths and folktales will often repeat or echo each other, creating a language of allegories and imagery across time and space which speaks to our innermost psyche. As an artist, I am highly inspired by Jungian archetypes and dream symbolism, as well as the intricacies of early alchemical texts and images. My work attempts to link contemporary folklore with ancient mythos through the syntax and semantics of icons and illustration.

Artwork: St Bax

These works are merely an exercise in the automatic: the scribble of the subconscious mind to express or imply a state of consciousness. Raw, unrefined, and unstructured, these works are not burdened by the constraints of artistic technical prowess, or premeditated ego driven high concepts. Rather, the only intention is to manifest images without concise intention altogether. The work is a reflection of profound visceral instinct of the Artist, or rather a recollection of latent desires and unrecorded obsessions. Therefore, in function the drawings become a symbolic language of the “subliminal immateria,” rather than that of the contrived corporeal experience. This is the mind in a state of Oblivion. These are the memories of Savage Gods.

Artwork: Untitled