Terraformer

Doze Green is a pioneering American artist whose work bridges the realms of graffiti, hip-hop, and fine art. He became an original member of the Rock Steady Crew, a group instrumental in the development of breakdancing. Simultaneously, Green honed his graffiti skills on the city’s subway cars, adopting the tag DOZE TC5 and learning from influential artists like RAMMELLZEE and DONDI White . Green’s artistic evolution led him from the streets to the studio, where he developed a distinctive style that melds elements of Cubism, Edo-period Japanese art, and calligraphy with his graffiti roots. Utilizing mediums such as black gesso and sumi ink, his works often feature dynamic, abstract figures he describes as “biological entities, a swarm of arrows coming in from infinite perspective” . These forms reflect his exploration of metaphysical themes, including the nature of narrative, the physics of time, and the possibility of immortality. Giclée (pronounced "zhee-clay") is a neologism for the process of making fine art prints from a digital source using ink-jet printing. The word "giclée" is derived from the French language word "le gicleur" meaning "nozzle", or more specifically "gicler" meaning "to squirt, spurt, or spray". It was coined in 1991 by Jack Duganne, a printmaker working in the field, to represent any inkjet-based digital print used as fine art. The intent of that name was to distinguish commonly known industrial "Iris proofs" from the type of fine art prints artists were producing on those same types of printers. The name was originally applied to fine art prints created on Iris printers in a process invented in the early 1990s but has since come to mean any high quality ink-jet print and is often used in galleries and print shops to denote such prints. Mario Martinez (aka MARS-1) paints from a penetrating perspective of great depth. Viewers are drawn into his imaginative compositions, overflowing with colorful geometric and organic shapes, layered to form unique patterns and textures. The artist signature style of vast, abstracted, quasi-extraterrestrial looking landscapes feature imagery of surreal distortions, contained within spherically convex transparent bubbles. Skillfully combining optical color blending with perspective line work, his painting techniques result in very three-dimensional forms, which echo the anatomy of architecture, and microcosmic structures of biology. These 3-D qualities transcend into his sculptural work, as well. Mars-1’s distinctly individual aesthetic is not easily compared to the vision of his contemporaries or artists from past movements. His constantly evolving process continues to expand with each new series of work, seemingly beyond the reaches of even his own awareness. Themes explored range from very scientific to more esoteric phenomena. From theoretical physics, metamorphosis and collective consciousness, to ufology and examining possibilities of otherworldly principles, the relative link between physical and life sciences are applied throughout. Transitional energies, natural multiplicity, helixes and spontaneous biological occurrences all come together, forming imagery with hypotheses beyond the scope of modern technology.