Ryan de la Hoz, who is featured in our May, 2014 issue, is opened Form and Void at Flatcolor Gallery in Seattle, WA last night. The name "Form and Void" is taken from the Bible. Genesis verse 1:2 "And the earth was without form, and void; and darkness was upon the face of the deep."
De La Hoz is taking all connotations out of it and focusing on the words "Form" and "Void". Working in unconventional mediums such as woven blankets, puzzles, and faux marble, De La Hoz has pioneered an innovative style in a class of its own. Collages of white noise, flowers and tie-dye are all hand cut and assembled to create mystic portals of intrigue. Heavily influenced by themes of death and rebirth, past and present, and the collision of modern culture with antiquity; Form and Void is mysterious look into the odyssey of creation, destruction, and an examination of society at large.
Most recently Featured in Juxtapoz Magazine (May 2014), Ryan De La Hoz has been published by FLJ Magazine in Tokyo, Museums Press in the UK, IdN Magazine in Hong Kong, and Beautiful/Decay in the US. He has participated in solo exhibitions in San Francisco, LA and Seattle; group exhibitions in the United States as well as the Philippines, Japan, Hong Kong, Germany, Canada, and the United Kingdom.
Ryan de la Hoz Form and Void
Flatcolor Gallery, Seattle
Opening, May 1st, 2014
The following is an excerpt from his interview in the May, 2014 issue of Juxtapoz Magazine:
Hannah Stouffer: Where would you say you acquire the main sources of inspiration for your pieces?
Ryan de la Hoz: Everything is inspiration. I am inspired by timelines in history, discovering new things to make art with and on, people, and music. I like that essentially art history is a series of rules that get broken by rule breakers, and boom, out comes a new art movement! This goes beyond art. You need to break the rules to change the world. I am drawn to this slight chaos. Where would we be without dissent? In the context of history I am fascinated by the general cycle that is greed-power-enslavement-despair-corruption-revolution-destruction and so on. Everything goes in circles, and humans can't seem to stop making the same mistakes twice.
When I first saw your work, it was pretty illustrative with bits of collage. It seems like you've stepped away from that and gone more towards graphic mediums and produced materials. Do you still use illustration?
My work has definitely become more graphic and less figurative over the years. I like the idea of making a piece that is entirely hand-cut paper, and then moving on to a piece that is full collage and/or manipulated, ready-made materials. I try to blur the line between digital and analog. Many things that appear to be digital in my work are made by hand or are hand-manipulated. For example, if I ever warp or stretch existing imagery, I do it by hand as it is being scanned. I also like the idea of a quickly executed portion of a piece juxtaposed with a section that I spent hours on with a ruler and ink.