It could be argued that economy is the height of any art; this does not exclude various maximalisms just that the reduction of conveyance, to only what is absolutely necessary (whether Baroque temple or Quaker meeting house) is perhaps most effective. And when it comes to actual pared-down styles, that is, those employing only single lines and/or unshaded masses, we have always been thoroughly jealous of the seemingly casual but totally powerful efforts of those like a Christopher Forgues or an Enzo Mari.
UK based artist/illustrator Dominic Kesterton is of this latter sort. And though his means be simple there comes across a wholly idiosyncratic offering. His reduced physiognomies whether humanoids (or anthropomorphized non-human fauna and/or fruits and flowers) always seem to possess a fertile remove. His characters handle the extraction of an eye or being cut in half and even a straightforward crisis with dollish poise. As well it feels worth mentioning that we sense a lovely/rewarding structural/stylistic overlap with Léger — though we have no idea if this intentional/actual.
UK based artist/illustrator Dominic Kesterton is of this latter sort. And though his means be simple there comes across a wholly idiosyncratic offering. His reduced physiognomies whether humanoids (or anthropomorphized non-human fauna and/or fruits and flowers) always seem to possess a fertile remove. His characters handle the extraction of an eye or being cut in half and even a straightforward crisis with dollish poise. As well it feels worth mentioning that we sense a lovely/rewarding structural/stylistic overlap with Léger — though we have no idea if this intentional/actual.