* Canson / Beautiful Decay Wet Paint Grant Recipient 2011
Ryan De La Hoz
Born September 26th 1985
Based in San Francisco California
Email ryan (at) ryandelahoz.com
Instagram Tumblr Twitter Flickr Facebook
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, and Beautiful/
Decay in the US. I have participated in solo exhibitions in San Francisco and Seattle + group exhibitions in the United Stat
es as well as the Philippines, Japan, Hong Kong, Germany, Canada, and the United Kingdom. I think a lot about loss, hop
e, isolation, freedom from oppression, the destruction of natural resources, myth, magic, the pursuit of happiness.
"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.