New Artists: October 2017

Aesthetica’s New Artists celebrates emerging artists who are contributing to wider dialogues about visual art through innovative work. Our picks for October are a reflection on the environment as spectacle, with ordinary structures transformed into a playgrounds of colours and shapes.

Jon Setter (@jonsetter)

Detroit-born Jon Setter originally studied painting, but when he moved to Sydney, he was thrown into a stage of unfamiliarity. This move of locality drove him to work in photography, as a way of making sense of the city. As a result, Setter’s practice focuses on urban architecture, looking at repeated formal patterns instead of the overall function of the building. Setter’s images feature geometric fragments, eradicating all geographical and structural complexities. Conveying a simplified, poetic expression of surrounding spaces, he gives viewers a chance to observe and celebrate the details that affect the way a city is understood by its inhabitants.

Eric Randall Morris (@ericrandall)

Eric Morris is an award-winning designer living in San Francisco. Formally trained as an architect, he has been working in the field for 10 years. His graphic began as an attempt to catalogue an index of American vernacular architecture, which transformed into a continually evolving visual exercise of the elevations and facades of cities. Morris’s work is about actualising daydreams, fabricating new, surreal worlds through two dimensions. Both haunting and oddly satisfying, the images provide actual photographs of suburban buildings against colour-block backgrounds. In doing so, the viewer becomes alienated – sources of lighting are irretrievable.

Michael Hensley (@michael_hensley_)

California-born Michael Hensley studied documentary film and journalism where he learned the basis of photography such as composition and lighting. After traveling around South America and Asia, he decided to focus on capturing disparate topographies, creating his own vivid perspective of contemporary urbanity. Pavements, motels, driveways and brick walls are a locus of activity, despite there being little actualisation of human existence. Through bright exposures and an attention to both composition and colour as relatable phenomena. Hensley provides a highly stylised and deeply chromatic view of 21st century geographies.

Chad Unger (@hadunger)

Chad Unger is a deaf photographer who started photographing about five years ago, featuring mostly on personal works, but this escalated into a daily practice to capture a singular, unique vision of the world. Tingling with a sense of the cinematic, an intriguing use of lighting floods each composition with satisfying hues of orange, green and blue. Many of the scenes are laden with blankets of snow, with neon signs and lit-up windows providing crisp, glowing relief against the starkness of night. What is found within each isolated terrain is a visual sense of satisfaction, even intoxication; balanced and mesmerising, the photographs call upon palettes of mystery and neglect.

To see more of their work, follow us on Instagram: @Aestheticamag.

Credits:
1. Untitled, Courtesy of Jon Setter. www.instagram.com/jonsetter
2. Untitled, Courtesy of Eric Randall Morris. www.instagram.com/ericrandall
3. Untitled, Courtesy of Michael Hensley. www.hens.ly
4.Untitled, Courtesy of Chad Unger.