* Canson / Beautiful Decay Wet Paint Grant Recipient 2011

Huffington Post Announcement  

 

Ryan De La Hoz

Born September 26th 1985

Based in San Francisco, California

Email ryan (at) ryandelahoz.com

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NOT NOT AWESOME interview Feb 2014 / GALLERY DAILY interview Dec 2013 

THE HUNDREDS interview May 2012  / JUXTAPOZ studio visit Feb 2012

POP MANIFESTO interview July 2011 / FECAL FACE interview January 2011

PICDIT interview March 2010 / KQED interview Jan 2010

 

I have been published by FLJ Magazine in Tokyo, Museums Press in the UK, IdN Magazine in Hong Kong, Juxtapoz Ma 

gazine and Beautiful/Decay in the US. I have participated in solo exhibitions in San Francisco, LA and Seattle + group exh

ibitions in the United States as well as the Philippines, Japan, Hong Kong, Germany, Canada, and the United Kingdom. I t

hink a lot about loss, hope, isolation, freedom from oppression, the destruction of natural resources, myth, magic, the pur

suit of happiness.

 

"The contemporary genre known as the maker culture is a relatively new pursuit, representing and emphasizing explorati 

ons in the intersections of both traditional and technology-based mediums. As a subculture, the approach is that if it can b

e imagined, it can be made. Ryan De La Hoz is a maker. With an innovative style, collaging white noise, tie-dye and faux

marble in the form of sculptural installations, xeroxed remixes and graphic puzzles, De La Hoz is essentially creating a

maker class of his own. Heavily influenced by the contrast of past and present, as well as modern culture versus antiqui

ty, his work examines society at large, dipping into nostalgic romance, floral patterns and heavy gradients." - Juxtapoz M

agazine May 2014 Issue

 

"The work of Ryan De La Hoz exists in a very particular world, a world comprised of hauntingly nostalgic paper cut

outs and drawings that look like a spooky cartoon reduced to the absolute minimum of expression. Delicate flowers,

leaves and skeleton gloves contrast with gaping holes filled with dizzying Op-Art to create a landscape that seems

like Tim Burton got together with Henri Matisse to make their own paradise. The works are so simplified they leave

it up to the viewers to project their own narrative on the scene. We each have our own idea of where each ladder

leads, and what is hiding behind those geodes and mountains of slime. The compositions are mysteriously devoid

of humans, yet laced with the shadows of human characters. The gloves of skeleton costumes pepper many of

his works, as if to signify not only death, but a human representation of death. Another common symbol used by

De La Hoz is the ladder, one loaded with symbolism. Ladders leaning into a spiraling abyss, or simply leading to

no where, bring to mind the question of where are we going and where have we been. While De La Hoz does have

the tendency to appear Halloween-ish, with his frequent use of pointed witches' hats, cob webs, skeletons and

blobby mounds with gaping mouths, the work transcends the threat of kitsch in its minimalism and precision.

We are drawn to wonder about the age old truths, about death and what is left behind, and about what is hidden

and what is revealed." - Amir H. Fallah (Founder & Editor, Beautiful/Decay)

 

"De La Hoz loosely explores the concept of what can stay behind after a person or society has vacated or perished.

He has this coined the term "Residual Energy" when referring to these vestigial elements of thought, that teeter on

the precipices of anachronism" - White White Brown Twig (UK)

 

Paper Cuts from Bradley Tangonan on Vimeo.