(ISAIAH BARR & GOGY ESPARZA)
An artist, multi-instrumentalist, composer, & producer, Isaiah Barr was born and raised in New York City. He founded the multi disciplinary group, Onyx Collective in 2013. The ensemble has performed in Europe, Asia, Australia and North America. Over the course of 10 years Onyx Collective has recorded and released 8 full length albums, some only existing on physical releases of Vinyl , CD, or Cassette. Onyx Collective has developed a multimedia approach which has led to performances at prestigious art galleries and museums (Museum Of Modern Art, Whitney Museum, Guggenheim Museum, MoMa PS1, Jeffrey Deitch Gallery, and many more). Over the years Isaiah has performed and collaborated with Roy Nathanson, Nick Hakim, William Parker, Dev Hynes, Kelsey Lu, Eartheater, Ratking, David Byrne, & many more artists. Gogy Esparza is an Ecuadorian-American, New York City-based artist who concentrates in fine art, photography, and video. His project, El Vacîo (2012-14) featured a photography book published by Dashwood Books, and accompanying exhibitions with COMME DES GARÇONS in Berlin and The Wayward Gallery in London. He has also exhibited at sO1 Gallery (Tokyo), DOMICILE (Tokyo), Just Another Gallery (Tokyo), La Pierre (Paris), The Aishti Foundation (Beirut), 98 ORCHARD (NYC), No Romance Gallery (NYC), MAGIC (NYC), Padre Gallery (NYC), Know-Wave Gallery (NYC), Good Taste Miami, Auto Body (NYC + Miami), Test Gallery (Copenhagen), HVW8 Los Angeles, HVW8 Berlin. He has collaborated with brands such as Supreme, Arc’Teryx, COMME DES GARÇONS, Paris Saint-Germain, Richardson, Patta, Nike, adidas, Converse, and Vans. His work has been featured in publications such as ARTForum, Purple Diary, The New York Times, Vogue (US), Interview, The Studio Museum Harlem, SNEEZE, Richardson Magazine, Vice Creators Project, Office, i-D, Dazed, GRIND, Ollie, HighSnobiety and HYPEBEAST. MAGIC, is Gogy Esparza’s multipurpose project space in Manhattan’s Chinatown. Part Gallery + hub for an international collective of artists + working creative, MAGIC has hosted over 20 exhibtions + special events since opening its doors in 2013, curated by Gogy.
Radimir (1997) is an artist born in Kazakhstan residing in NYC. His work reflects an exploration of the themes of death and rebirth. Now venturing into the physical space to bring his art to life in a more tangible and immersive way. Aiming to capture the essence of this theme, exploring the cyclical nature of life and the transformations we undergo. Through the medium of art, Radimir hopes to offer a reflection on the human experience and the ongoing journey of self-discovery and renewal. His clients include Bulgari, Universal Music Group, The Shed, Happy99, Windowsen, Jolin Tsai, Lil NasX, Justin Bieber, Marvel/Disney, 88Rising, 21 savage, Kinfolk, and Red Bull. His work has been featured in publications such as Vogue, Paper magazine, Office, Kingkong, and Dazed China.
Maxwell Deter is a New York City based artist born in the East Village, his work includes sculptures, drawings and paintings. His most recent pieces are hand-sewn fabric masks of various colors and patterns that are sourced from second hand stores and vintage collections. Each mask is a one-of-a-kind character that may invoke different feelings. The contrasting patterns, colors, and forms come together to create unique expressions to each mask which can be embodied by the wearer. Creating comfort as well as freedom to interpret what emotions they wish the mask to convey.
Born along the Mediterranean in the town of Narbonne, and having since migrated extensively between Spain, Puerto Rico, and later New York, Rouzaud's practice revolves around things left behind, both the tangible and the abstract. Camille's concoctions combine an array of seemingly disparate materials: BMX bike parts, dry wheat burned by the Mediterranean sun, concrete, and shotgun cartridges, each one bound together with an image of young men who have abetted and altered the artist's essence. Rouzaud's father, who grew up in Ouagadougou and Bamako, instilled the practice of animism in them at a very young age, which is evident throughout their work. Animism is the belief that all animals, plants, rocks, rivers, weather systems, human handiwork, and perhaps even words possess a life force, and are animated and alive. It can be ascertained that each sculpture represents an "altar," lending credence to the layered life we live full of failures, experience, and oppression. Rouzaud's stoic, sculptural statements are a metaphor for resilience. They are at once effortless and elaborate, as free from indoctrination as their subjects are; both fragile and seemingly, invincible, as we all are. They are a symbolic means of self-preservation, exploring the impetuousness of adolescence, finding common freedom across nations in a rancor world, amidst continuous catastrophe, economic woes, and gender and racial injustice. The found objects hold scars, aging, and deterioration, marking the passage of time and tribulations. In this way, they act as a stand-in for the body and the human experience.
Armando Nin never desired to be dependent to a singular approach to art-making, yet developed a uniform trait that would allow the observer to recognize his work. Nin paraphrases different preceding genres such as photography, painting and assembling found objects, then plays with them to identify new capacities. Only a certain expressivity with innocent eroticism and nonconformity define his world of images. The focus of his multifaceted body of work is on generating a domain for spirited experimentation in which new images can arise. Since Nin was a child, he dabbled in photography. However, only since 2005 did he begin to take this medium sincerely. Urban image-making matched with his dramatic visual story-telling is a method to his photography work. The similarities to “combat” photography are striking. However, his subject matter is diverse. He examined an imaginative personal perspective that many like Nin, who navigate the various aspects of the city, might miss. The mundane for Nin becomes extraordinary or curiously profound; those situations, places and things are caught so that one later can look at them comfortably. Nin’s artistic research became intimate in short time, between 2013 and 2022 he experimented with using unusual materials such as etch-bath, latex, layout fluid, and soot from smoke to be elevated to the same importance as oil or acrylics. Armando Nin is accepted in the solutions found by artistic movements as 'arte povera' and 'neo-dada', leaving open many critical interpretations and methodological interpretations.