"quiescent light” acrylic on wood



Safewalls Cirque poster



50 edition print of "plumlit night"



“going forth with apples”

Amy Sol is an American artist of Korean ancestry, who lives in Las Vegas, Nevada. She is a member in good standing of a loose knit community of artists practicing Pop Surreal, Lowbrow, or, as Robert Williams defines it, "cartoon-tainted abstract surrealism." She typically paints upon treated wooden panel, incorporating the grain of the wood into the painting. Her style integrates both narrative and figurative styles with the mystic.

“ The reason (is) the wood really helps me a lot, and I've sort of become addicted to using wood panel. It's become a really important part of the whole piece -- all together -- it holds the whole piece together. The grain of the wood usually is the start of the motion; the flow. The wood always reminds me to keep things moving. When you look at wood grain, sometimes -- and you can almost feel the sense of something alive, of course it was once alive, but that imprint; the foot-print of it is still there. When I paint right on the wood it influences the colors I use. It reminds me to keep things really natural. ”
—Amy Sol, Semi-Permanent Lecture, 2008 Sydney, Australia

Amy Sol

Amadéus Leopold (born Hanbin Yoo, 3 August 1987) is a Korean-American violinist. He made his international debut at age twelve at the 42nd Annual Grammy Awards and made his Carnegie Hall debut in 2009 following a decade of study with Itzhak Perlman at the Perlman Music Program and the Juilliard School.

Born in Seoul, Korea, Leopold began his violin studies at age five and won a top prize at the Korea Times Competition the same year. He made his first national television appearance at age eight in a documentary profiling Korean prodigies on the KBS network, showcasing his talent in violin performance and composing music, poetry, and plays. At age nine, Leopold was the youngest student accepted to the Korean National University of Arts. By age ten, Leopold had made his orchestral debut with the Seoul Philharmonic Orchestra and performed solo recitals in several major concert halls throughout Korea.

He already had an exotic, double-barrelled name that wouldn't seem out of place alongside Björk, Madonna, Rihanna or Lady Gaga – and a daring performance style and aesthetic to match. But the classical chameleon formerly known as Hahn-Bin has changed his name to Amadeus Leopold in a bid to pay tribute to his violin idols.

"Amadeus Leopold is the name I have chosen for my American citizenship, while Hahn-Bin is my given Korean name," the New Yorker explained.

A kind of David Bowie of the classical music world and an underground fashion icon, the 25-year-old told Limelight that his new stage name reflects his "marriage and commitment to the new golden era of music – one where there is no boundary between what is classical and what is pop.

"We are very near that golden era of music; one that is reminiscent of the days when Liszt and Kreisler, Rachmaninov and Mozart himself, were the rockstars of their day. My role in this world is to embody the renaissance of classical music itself; I wanted to make that message clear to the world."

Amadéus Leopold

Diviner detail 66" x 28" x 3" archival ink on hand-cut mylar 2010



Clarion 7.5" x 9" x 1" archival ink on handcut mylar 2004



Lepidoptera II 11 " x 8 " x 1 "  archival ink on hand-cut mylar 2005

A finely drawn line separates Imi Hwangbo’s sensual sculptures of the 1990s from the discretely dimensional objects that she makes today. The swollen forms of “The Waiting Chamber” series have given way to exquisite introspection. Before, she carved and modeled organic shapes in plaster, then cast them into red rubber vessels. Now she turns her drawings into vellum maquettes and achieves sculptural geometric designs from multiple layers of digitally printed, hand-cut Mylar.

constructed drawings Photographer: Michael McKelvey

Imi Hwangbo