Photo by Aaron Dunn

Photo by Aaron Dunn

Found here at Art of Love - if you like Art Boobs you'll probably like this site as well.

Three drawings by Matt Brown

"Sticks and Stones: Part One" by Matt Brown, 24x25", coloured ink on illustration board

"Sticks and Stones: Part Three" by Matt Brown, coloured ink on illustration board

"Endocrine Series" by Matt Brown, 10x8", coloured ink on illustration board

Matt Brown is represented by Christopher Cutts Gallery in Toronto, Canada. Make sure you click on the images above to see the detail in the large versions.

If you have more info on Mr. Brown please let us know because his dealer's site does not have a bio, and "Matt Brown" is a bitch to google.

(via)

"Doll in White" (2006) by Emily Simek

"Doll in White" (detail) by Emily Simek, 2006, oil on canvas, 24x30 inches

Th press release of a joint show by Emily Simek and Madeleine Hellmers at Toronto's G+ Galleries is a feast of mumbo-jumbo ArtSpeak™:

Both artists share an interest in personal symbolism and archetypes, modes of representation and communication, and the subconscious. Each negotiates between chaos and order, between the rational and irrational. Dreamed/imagined reality and lived reality collide and are represented on the same plane. In playing with diametrically opposed opposites, the 'lines' between them begin to blur; the space that exists 'between' often materializes as banal objects or ubiquitous expanses of land, urban or otherwise. The works' contexts are occasionally extended by the use of fractured narratives or titles which relate to them indirectly. This marriage of disparate images is also reinforced by the sculptural use of string throughout a portion of the gallery which stands as a metaphor for the continuity of thought/experience, and represents the continuous attempt to resolve fragmented elements through their synthesis and association.

What I think? Tits + rope bondage + art = Welcome to Art Boobs!

Untitled (2005) by Erica Eyres

Erica Eyres, Untitled, Ballpoint pen on paper, 43 by 64 cm, 2005

Erica Eyres (Canada, 1980) completed her BFA at the University of Manitoba in Sculpture in 2002. In 2004 she finished her MFA at the Glasgow School of Art. (source)

Eyres speaking about her drawings:

Most recently I have been working on a series of drawings that focus on women and how they portray themselves through self-portraits, and how these images reflect their sexuality and their self-esteem. These women straddle the border between being pitiful and hilarious so that they demand both empathy and uncomfortable laughter.
The drawings are inspired by men’s magazines, with photo spreads such as "Real Girls to Phone and Date". Women are encouraged to submit photos of themselves and to describe their ideal man, or why they’ll "do anything". I am interested in the low production quality of these images (some taken with mobile phone cameras), and how they become self-portraits that reveal the women’s insecurities and clumsiness. The original context is removed from the drawings, depicting young women who pose awkwardly in their underwear, displaying deformities that could be either major or minor (depending on how we choose to see them). Despite their awkwardness, however, the women stare back at the viewer with a kind of ease, rather than a resignation. They appear eager or expectant, implying that they are awaiting the viewer’s approval. The viewer becomes uncomfortable, not sure if they should find the women attractive, ugly, melancholy, or threatening.

"Anouk" (1998) by Pedro Isztin

(Anouk, Canada, 1998. Silver gelatin print, Edition: 30, 19.5" x 15.5" image, 30" x 24" mat)

Born in 1964 to a Colombian mother and a Hungarian father, Pedro Isztin has lived his life between Latin America, the United States and Canada, his birthplace. His series, "in situ," Latin for "in its place," explores the connection between people and their environments in various regions of the Americas.

Isztin portrays nature as the connective force between human souls; the untamed wilderness he depicts in "in situ" highlights both "our individual fragility and our need for social solidarity in order to be truly healthy and sustainable," he says. Surrounded by lush forests, pristine water and plants bigger than their own forms, Isztin's subjects seem blessed, if not by wealth, than by the bounties provided by their indigenous environments—environments which are impossible to distinguish as South or North American.