@mad.lizzard

Creative Director + Photographer based in NYC

Olga Feshina is an artist fascinated with new technologies and gadgets. She investigates contemporary girls obsessed with tech gadgets and explores their gestures and poses in relation to these objects.  She depicts the inner child of new tech girls as baby deer with a VR headset who is stunned in admiration and mesmerized with the perfection of the virtual world like all of us. Olga Feshina grew up in Kazakhstan, where she trained as a fashion and costume designer. She attended Karaganda Art School and focused on painting and photography. Later, she studied contemporary costume design at Kazakh National Academy of Arts in Almaty. Among her many design accolades, she created the world’s first sporting uniform for chess—a commission from the International Chess Federation (FIDE). Her training as a designer has heavily influenced her painting style, which includes formal elements of cartoons and digital illustrations. In 2013, the interdisciplinary creative practitioner moved to New York. Feshina has been featured in a number of notable publications, such as W Magazine, Esquire, FAD Magazine, Women Love Tech, Wallpaper, ELLE, and L'Officiel. She has had solo exhibitions at Gallery Tvorchestvo (Moscow); the Shchusev Museum of Architecture (Moscow); Paris sur Mode (Paris); and Mercedes-Benz Fashion Week Russia. Most recently, she exhibited works from “New Tech Girls” at Google’s offices in New York and at a booth for NYAFAIR in Tribeca. -------------------------- On the photo: Olga Feshina at her solo exhibition New Tech Girls - VR Friends at Google New York Jun 18 - Apr 30 2019

Artist and Creative Producer from Ireland, living in Brooklyn NY.

Chris Ballantyne’s work focuses on vernacular architecture and observation of the American landscape.  Banal features of suburban and industrial zones are sources for paintings that highlight the quirky and absurd.  Ballantyne states that, “Growing up in a military family and moving to different parts of the country, there was a certain familiarity to the kinds of houses and neighborhoods. They were a series of suburban developments built in separate regions of the country, always on the outskirts of larger cities, at the exit ramps of interstate highways, and all very similar in age and design.  My own notions of space developed out of this cultural landscape which was striving for an indidvidual sense of personal space,  consciously economic, and somewhere between urban and rural.” Dysfunctional structures are flawless in their strangeness, made beautiful through symmetry, simplified lines and flat, subdued colors. Ballantyne eliminates detail to emphasize the subtleties of the way we experience space and our attempts at containment. He extends these concepts further by expanding the imagery of his paintings beyond the picture plane and onto the surrounding walls. “Most of my works involve combinations of various places, drawn from memory. As well, my own interests in skateboarding and surfing altered how I saw  the use of these structures ranging from empty pools, sidewalk curbs, to ocean jetties in a way that tied in to my sense of this larger push and pull between culture and nature.” With shrewd restraint, Ballantyne accentuates the antisocial effects of our built environment with a hint of humor and plenty of ambiguity. A curious emptiness permeates the work of Chris Ballantyne. Graphically rendered buildings, pools, parking lots, and fences take on new meanings and amplified significance, isolated on flat fields of color.