In my pictorial, sculptural and mural compositions, my geometrical shapes act as they interact with the surrounding environment. In particular, when painting on walls, my aim is always to create a dialogue with the structural and cultural parameters of the surrounding context, either architectural or not.
Initially, my works only realized the sculptural quality of individual letters, namely the ones that spelled out my own moniker, Peeta. Progressively, the fusion between traditional lettering and three dimensional style has given life to a unique kind of visual rhythm. Today, through my anamorphic works I redesign the volumes of any kind of surface involved, thus causing with my paintings a “temporary interruption of normality” by altering the perception of familiar contexts and so raising a different understanding of spaces and, consequently, of reality on a whole.
Metaphorically, I want to neutralize preconceptions and urge the emergence of new perspectives. Anamorphism totally embodies the intent, always pivotal in my production, to reveal the deceptiveness of human perception, the fallacy of narrow and fixed points of view through visual tricks which, proceeding from the attempt to confer a three-dimensional semblance on a pictorial representation, ultimately reveal their will to deceive.
Due to my turn towards anamorphic painting, I choose to transform also my traditional shapes in order to let them interplay with standard modules of architectonic structures, often changing them from irregular and smooth to geometrical solids.
Constantly running in parallel with my mural and painting activity, the role of sculpture comes to be essential for my overall production as it represents for me a direct contact with three-dimensionality in order to understand the rules of light and shadows and to reproduce them.
Peeta, also known as Manuel Di Rita, is a graffiti artist since 1993 currently living in Venice. He is a member of the EAD crew (Padova, Italy), FX and RWK crews (New York City) and has participated, over the years, in jams, festivals and art shows all over the world. His work explores the potential of sculptural lettering and anamorphism, both in painting and in sculpture.
Abrupt and immediate ideas around composition and structure hold the attention in Matthew’s mural, studio and installation work.
Drawing influence from colour field painting and early Bauhaus graphics, the use of rudimentary tools and industrialized processes assist in constructing a strong visual language towards his work.
Using documentation of a built environment, interventions within urban space and explorations into materiality, his work seeks to engage an audience through a series of persistent investigations around the use of public space, and how that communicates to a formal studio practice.
Claire Foxton is an emerging Australian artist, muralist and designer.
Claire’s art practice explores the apex of visual design, fine art and street art through a hybrid of figurative and abstract works using traditional and improvised techniques. With a mix of self-taught and formal education Claire has established a unique style centred around photorealistic subject matter, colour, shape, form and texture.
In 2016 she painted her first large scale mural triggering a love for public art, its accessibility and the inevitable exchange it creates between the artist, artwork and the local community.
Dave Court is an Adelaide based multi-disciplinary artist working in areas of painting design and installation.
Current work includes large scale mural painting, event activation, venue design and creation of immersive installations.
After graduating with Visual Arts honours specialising in painting in 2013, Dave was involved with award winning immersive art project Mr IST. Other major projects include running ethical clothing brand foolsandtrolls, retail store / art space Created Range and working as creative director of Yewth Magazine, as well as ongoing freelance work and art practice.
Dave’s practice is based around painting, and has expanded to include experimental aspects of photography, video, performance, installation and collaboration.
Jimmy Dodd has a visual arts practice that oscillates between galleries, public space, conceptual and community driven outcomes. He has a strong interest in suburbia and the kind of creativity often found in people’s sheds. In many instances he is chopping up and re-assembling bikes as parts of larger contraptions and art-making machines. He has a strong history as part of the Melbourne Stencil and Street Art movement and mostly pursues wall painting as a component of youth and community art workshops. James Dodd is represented by Hugo Michell Gallery, Adelaide and Backwoods Gallery, Melbourne.
Elliott Routledge is an Australian contemporary artist based in Sydney.
Across his career, he has shown work and installed major public murals all around the world. He has shown in galleries and installed murals throughout the world in such places as London, Vienna, New York, Melbourne, Tokyo, Paris, Singapore, Amsterdam, Hong Kong and extensively throughout Australia.
His work exists in a balance between expressive mark making and abstract form. Having spent a lot of time practising colour theories, his current work is reflective of how he takes this information of colour relationships and pattern choices, and flips them enough to create bold, harmonious compositions.
Elliott’s practice spans across canvas paintings, hand made sculpture and large scale public murals. He was most recently a feature of the Art & About Festival in Sydney, and has also been shown in the Museums Quartier, Vienna as a part of his 2014 Residency. His work can be viewed publicly in the form of numerous large scale murals, for the City of Sydney, UTS and many more.
Seb Humphreys took on the moniker ‘Order’ in the year 2000, the journey of style development originated with the search of letter experimentation and the integration of subtle and complex forms tied to the name Order. As times have rolled out, the reliance on letters as a structural base has been left behind, with the forms emancipated from these confines and finding their own ends as individual marks.
“Over the last year and a half the murals I’ve been painting have shifted in style quite considerably, from a definite organically flowing form to now more of a geometric and organic interdependence, with almost mechanical features in some instances.
These forms now seek to tell stories or show a series of interactions and collisions utilising their inherent symbolic nature. However, the ambiguity of such arrangements request that the viewer subjectively decode the work – thus interlocking the viewers personal search for meaning with the works emphasis upon multiplying and obscuring any precise meanings.”