ASHLEY ARMITAGE   Ashley Armitage is a 24 year-old film photographer based in Chicago. Her work focuses on the female and LGBTQ+ experience, and she believes diversity is necessary. Without a multitude of voices, we only hear one story, and one story is not the full picture.  "Ashley's intimate portraits of her close female friends counter the dominant narrative of what society thinks it means to be a woman. Shooting real girls with real bodies and real imperfections in dreamy pastel tones, Ashley represents the female sex in all its natural and diverse beauty."--i-D Magazine  “Ashley Armitage, 24, started taking photos of her sister and friends at age 15, and her work still focuses on that intimate crew of nonprofessional models. ‘I’m not interested in photographing people and bodies in their ideal forms. That, to me, is boring,’ she said. ‘I want to see the scars, the cellulite, the pimples, the stretch marks and the body hair. I want to see the little imperfections, because those are the things that make us human.’”-- NY Times  “Shooting candy-coloured images of her contemporaries with a Pentax Asahi that she picked up at Value Village, her work pulls from personal experience and goes far deeper than a pretty picture. “--Dazed  http://www.asharmitage.com/

ASHLEY ARMITAGE

Ashley Armitage is a 24 year-old film photographer based in Chicago. Her work focuses on the female and LGBTQ+ experience, and she believes diversity is necessary. Without a multitude of voices, we only hear one story, and one story is not the full picture.

"Ashley's intimate portraits of her close female friends counter the dominant narrative of what society thinks it means to be a woman. Shooting real girls with real bodies and real imperfections in dreamy pastel tones, Ashley represents the female sex in all its natural and diverse beauty."--i-D Magazine

“Ashley Armitage, 24, started taking photos of her sister and friends at age 15, and her work still focuses on that intimate crew of nonprofessional models. ‘I’m not interested in photographing people and bodies in their ideal forms. That, to me, is boring,’ she said. ‘I want to see the scars, the cellulite, the pimples, the stretch marks and the body hair. I want to see the little imperfections, because those are the things that make us human.’”-- NY Times

“Shooting candy-coloured images of her contemporaries with a Pentax Asahi that she picked up at Value Village, her work pulls from personal experience and goes far deeper than a pretty picture. “--Dazed

http://www.asharmitage.com/


  BETH HOECKEL   Beth Hoeckel is a multidisciplinary artist and illustrator from Baltimore MD and currently based in Austin TX. Beth earned a BFA from The School of the Art Institute of Chicago where she studied painting, photography, and printmaking— but her main area of expertise is in the medium of collage. Beth began her first widely-known series of collages in 2010, and has been a full-time freelance artist since 2012. Over the past five years her work has been exhibited around the world and published in many prestigious books and magazines.  Beth can currently be found creating collage and mixed media art for art's' sake, as well as illustrating for a variety of clients including Rookie, Domino, The New York Times, and many more.  http://bethhoeckel.com/

BETH HOECKEL

Beth Hoeckel is a multidisciplinary artist and illustrator from Baltimore MD and currently based in Austin TX. Beth earned a BFA from The School of the Art Institute of Chicago where she studied painting, photography, and printmaking— but her main area of expertise is in the medium of collage. Beth began her first widely-known series of collages in 2010, and has been a full-time freelance artist since 2012. Over the past five years her work has been exhibited around the world and published in many prestigious books and magazines.

Beth can currently be found creating collage and mixed media art for art's' sake, as well as illustrating for a variety of clients including Rookie, Domino, The New York Times, and many more.

http://bethhoeckel.com/


   DEREK ERDMAN    Derek Erdman is regularly called a Pop Artist, and this is understandable given that his tactics appear to intensify the preoccupations of the Factory tradition. Over the last decade Erdman has developed an increasingly efficient method for producing batches of art that he can make quickly, duplicate easily, and sell cheaply. According to this method his energy is concentrated in the plan (selecting source materials from which he will ‘borrow’ imagery), and the execution of each piece becomes semi-automatic, a series of choreographed tasks that he can carry out much like an assembly liner or a tap dancer might perform his job. The subjects of his paintings (second-tier celebrities, flash-in-the-pan current events, obsolete advertisements) are almost always borrowed from the moving spotlight of popular attention, and so the pieces themselves take on the form of commercial debris, relics of the recent surface-past. Occasionally they even turn up in thrift stores. In displaying and distributing his work (paintings, but also magazines, CDs, and pranks of all kinds), Erdman has demonstrated an unwavering preference for the banal and the widespread, favoring newsstands, restaurants, building sides, and balloons over galleries. And he has become an expert at harnessing the special hype-magic of the Internet (along with the party and various other spectacle-events that will circulate later in other people’s stories), which he uses not only as a mass-marketplace, but also to cultivate his own semi-celebrity, which carries his work, infusing it with everyday myth.  https://www.derekerdman.com/

DEREK ERDMAN

Derek Erdman is regularly called a Pop Artist, and this is understandable given that his tactics appear to intensify the preoccupations of the Factory tradition. Over the last decade Erdman has developed an increasingly efficient method for producing batches of art that he can make quickly, duplicate easily, and sell cheaply. According to this method his energy is concentrated in the plan (selecting source materials from which he will ‘borrow’ imagery), and the execution of each piece becomes semi-automatic, a series of choreographed tasks that he can carry out much like an assembly liner or a tap dancer might perform his job. The subjects of his paintings (second-tier celebrities, flash-in-the-pan current events, obsolete advertisements) are almost always borrowed from the moving spotlight of popular attention, and so the pieces themselves take on the form of commercial debris, relics of the recent surface-past. Occasionally they even turn up in thrift stores. In displaying and distributing his work (paintings, but also magazines, CDs, and pranks of all kinds), Erdman has demonstrated an unwavering preference for the banal and the widespread, favoring newsstands, restaurants, building sides, and balloons over galleries. And he has become an expert at harnessing the special hype-magic of the Internet (along with the party and various other spectacle-events that will circulate later in other people’s stories), which he uses not only as a mass-marketplace, but also to cultivate his own semi-celebrity, which carries his work, infusing it with everyday myth.

https://www.derekerdman.com/


   JOAN LEMAY    Joan LeMay is a portraitist and illustrator who is interested in pattern, a direct gaze, Byzantine halos, and the power art has to bring straight-up joy into everyday life. She loves painting people and animals in equal measure, and packs referential objects, color-based symbolism and other subject-specific elements into the busy backgrounds of her work in order to reflect the soul and life of the person or creature depicted.  Her work has been exhibited in galleries, bars, coffee shops, weird art spaces, restaurants and rock clubs across America--and once in Germany. She works with both editorial and corporate illustration clients, and has also created album artwork for multiple artists. She is currently creating artwork for the upcoming documentary film "It's Not A Burden", produced and directed by the Emmy-nominated team at Greenie Films. She is also, and always, taking portraiture commissions for pets, people and places, and continues to illustrate for multiple outlets from her studio in Santa Fe, NM.  “I’ve seen scarier.”--John Waters on Joan’s portrait of him  “I love the painting, it’s just perfect”--Amy Sedaris on Joan’s portrait of her  “I love this! Thank you!”--New York Magazine Art Critic Jerry Saltz on the unsolicited portrait Joan painted of him    https://www.joanlemay.com/

JOAN LEMAY

Joan LeMay is a portraitist and illustrator who is interested in pattern, a direct gaze, Byzantine halos, and the power art has to bring straight-up joy into everyday life. She loves painting people and animals in equal measure, and packs referential objects, color-based symbolism and other subject-specific elements into the busy backgrounds of her work in order to reflect the soul and life of the person or creature depicted.

Her work has been exhibited in galleries, bars, coffee shops, weird art spaces, restaurants and rock clubs across America--and once in Germany. She works with both editorial and corporate illustration clients, and has also created album artwork for multiple artists. She is currently creating artwork for the upcoming documentary film "It's Not A Burden", produced and directed by the Emmy-nominated team at Greenie Films. She is also, and always, taking portraiture commissions for pets, people and places, and continues to illustrate for multiple outlets from her studio in Santa Fe, NM.

“I’ve seen scarier.”--John Waters on Joan’s portrait of him

“I love the painting, it’s just perfect”--Amy Sedaris on Joan’s portrait of her

“I love this! Thank you!”--New York Magazine Art Critic Jerry Saltz on the unsolicited portrait Joan painted of him

https://www.joanlemay.com/