Connor Dolan (b. 1998, Miami FL).
“With an almost neurotic curiosity about the world, fact-finding and Wikipedia click holes entertain me as much as anything. Consequently, my artwork often centers on a captivating figure I’ve stumbled across and expands outward to incorporate more complicated materials and sometimes misunderstood subject matter that lies beyond everyday familiarity. Things like radiation, pharmaceuticals, petroleum, germs, GMOs, and even narcotics are all fascinating yet unnerving. While often considered outright dangerous, I present these technologies as complex tools—able to accomplish both evil and good with the right oversight and regulation.”
“My painting process feels like writing in a diary except I don’t know what it says, it feels like I’m writing in some weird foreign language thats only slightly cathartic and sometimes it’s fucking boring.”
.....Connor says while showing me a repurposed makeup sponge taped to a stick which he uses to physically tap, or smack, kilos of french ultramarine onto canvas until he’s created a figure. It’s a power play in Connor’s world of creation (his studio on the second floor plaza–with an air filter constantly running), testing himself by starting with a large brush in the foundational stages of each painting, aiming to be loose, painterly, and free, only to find himself working with a brush of three tiny hairs, incapable of letting go of a certain level of control <3
SEE MORE ON CONNOR HERE.
“With an almost neurotic curiosity about the world, fact-finding and Wikipedia click holes entertain me as much as anything. Consequently, my artwork often centers on a captivating figure I’ve stumbled across and expands outward to incorporate more complicated materials and sometimes misunderstood subject matter that lies beyond everyday familiarity. Things like radiation, pharmaceuticals, petroleum, germs, GMOs, and even narcotics are all fascinating yet unnerving. While often considered outright dangerous, I present these technologies as complex tools—able to accomplish both evil and good with the right oversight and regulation.”
“My painting process feels like writing in a diary except I don’t know what it says, it feels like I’m writing in some weird foreign language thats only slightly cathartic and sometimes it’s fucking boring.”
.....Connor says while showing me a repurposed makeup sponge taped to a stick which he uses to physically tap, or smack, kilos of french ultramarine onto canvas until he’s created a figure. It’s a power play in Connor’s world of creation (his studio on the second floor plaza–with an air filter constantly running), testing himself by starting with a large brush in the foundational stages of each painting, aiming to be loose, painterly, and free, only to find himself working with a brush of three tiny hairs, incapable of letting go of a certain level of control <3
SEE MORE ON CONNOR HERE.
Alicia Bilbao. Born in 2000 in Heidelberg, Germany.
Of Spanish decent and nationality. Based in Miami, Florida.
“I make dolls and toys that tell stories about humans.
The safe practice of play opposes the visceral nature of life. In childhood we begin to discover the stark difference between idea and reality.
Through the reflection of a gaze, the tightening of a hand, the wear of a plushie, I illustrate the collision of the two.”
Next up is Tunnel resident; Kenzie Funk
Kenzie’s recent studio work explores natural materials like oolite rocks, known for their ability to filter saltwater into freshwater—a process symbolizing transformation and renewal. This theme resonates with the human desire for growth and purification, embodying a lighter, more intentional way of being. Kenzie incorporates ideas of filtration and meditation into her practice, often engaging in repetitive, mindful tasks like stacking materials, including rocks and aluminum. These actions echo meditative traditions, such as the Japanese art of stone balancing, which emphasizes balance, intention, and harmony with nature, symbolizing the impermanence and delicate equilibrium of life.