In papercutting, I expand upon a historical lineage that arises from Germany, Japan and China.  My pieces imbue this art form with a modern narrative and unexpected images.  I first illustrate the piece, then painstakingly cut out each line with a knife - in effect, "carving" the paper to illuminate the work.  Audiences are often surprised to realize that the entire piece is cut from one single, unified piece of paper.

To terrorise the powers that be, the tokoloshe emerges from obscurity. It reminds South Africans, young and old, that freedom and justice remain elusive unless we are willing to fight for it.

I liked this work for its directness, its fresh approach to representation, its desire to communicate with absolutely anyone. I became very interested in the neo-expressionists' attempt to create an image of a universal, unspecified person. I experimented with faceless characters in a number of comic strips and also tried my hand at stencils and graffiti. I still consider myself to be a neo-expressionist comic book artist.

L.E.T. (aka Les Enfants Terribles) one of the first German Street Artists (since 1992), and to this day he is active in the street shaping the image of his home city of Dusseldorf. His motives are sprayed on paper and then pasted as “Cutouts” in the world.

“I let my work speak for itself. But dreams can inspire me and I am particularly interested in people who spread love and joy…” 

My practice deals with paradox and its reconciliation through a transcending act or form. Focusing on the contradictions of the human spirit and the society we have built, I work with the conflict between desire and fulfillment, vulnerability and courage, futility and possibility. 

Arthur B​ryce Chisholm is an artist born in the Biggest Little City in the World, Reno, Nevada.  Bryce has painted in nearly every medium there is from oil, acrylic, water color, spray paint and basically anything he can get his hands on.  He likes to paint… a lot, and he will do it on just about any surface he can get a hold of.  Stencils have been his latest passion.  Designing and cutting out a stencil is a long, finger wrenching process that is so rewarding in the end.  Using stencils, spray paint, and acrylic to create intricate paintings with vibrant colors is what fills his current body of work.

Dlux, or, as he is more commonly know these days, James Dodd, was there, amongst it all, a part of the beginnings of a movement that have continued to this day. Where once street art was truly underground, it is now, in many ways, a commercial, comodifiable product – and yet artists such as Dlux have retained their ability to “keep it real” whilst navigating the many opportunities and pitfalls associated with the rise of street art as a cultural phenomenon. Although his work has evolved in many differing directions in the decade since, it still retains an element of authenticity that was, in all probability, spawned within that period of time – the rebellion, the enthusiasm and gleefully poignant philosophical elements are all critical elements of his work, and it would be hard to discern if so many of these elements would be present, if he had not been there to see it all in its rambunctious glory.