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A movement of might



A movement of might
B-Side Artists
Through July 11 at CityArts Factory
29 S. Orange Ave.; 407-648-7060

"‘All new work' was the mantra, and the result speaks for itself. The artists are really stepping it up here," says Chuck Dinkins, director of the CityArts Factory. Indeed, though the B-Side Artists are well-traveled in the downtown zone, this group show puts a spotlight on the artistic strength of the collective that includes Tr3, Swamburger, G. Lemus, Tobar, Palin Perez Jackson, Jacob Cordell, Julio Sanchez, Peter Van Flores III, Socky Chop, Decoy, NeoSoe, Anita and Peterson among others.

As a visual artist, Swamburger is loosening up, with two nice large panels rendering the city in sketchy profile. His graf in pastel pink softly undulates below the street, suggesting a warmth not always seen in his work, while a riot of strong form and color dances over the blocky buildings. His wife, Alexandrah, exhibits exquisite pen-and-ink drawings reproduced on clear acetate, floating over watercolor washes; her largest piece, titled "Love 1, 2, 3." has a powerful psychedelic feel, although it is a black-and-white work.

The rest of the crew is strong, too. Tobar's style, with a Chicago edginess, is developing the theme of the gas mask, while his faceless "Pimp" stands tall against the backdrop of a scaleless, receding city, a strutting, powerful figure rendered with minimal color. NeoSoe and G. Lemus contribute their own evocative point of view with vigor and intensity. Tr3's work, informed by his stint as an animator in Los Angeles, includes a worm's-eye view of kids caught in some sort of a trap while penciling their homework, suggestive of some suburban horror.

New to the scene is Peterson, and the visceral emotional content of this artist's work has a depth and tension about it that lingers. Works such as "Midnight," depicting a street performer, seem to convey a dark, soulful narrative. Peterson's well-developed style is self-assured, and he ventures outside it to create message pieces and artwork depicting symbolic masks and spiritual experiences. While he is trying his hand at other styles, his work remains consistent, with figures against complex, geometric backgrounds suggesting our fragmented urban condition.

By now, the B-Side Artists, led by Swamburger, have made their mark on downtown Orlando. Chuck Dinkins' integration of vintage vinyl into the show lends an installation-like quality and reminds the viewer of the larger essence of the street-art movement, which includes music, art and performance.

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