Australian husband-and-wife visual artists, DABSMYLA, employ a shared design language that dictates subject matter, positioning, color theory, and perspective. With this established framework and unspoken set of rules – strengthened by over a decade of working together simultaneously – their singular goal is to tell an expansive story that is wholly unique to their own experiences. There is nothing random or erroneous in DABSMYLA’s work; it’s planned and executed with the precision of a diamond heist and with the charm of a Technicolor world.
Panorama is of particular importance in DABSMYLA’s work. Micro points-of-view get referenced in larger scopes of vision – creating an interconnectedness amongst paintings both big and small. Much in the same way a person unlocks a greater eye-scope as they lessen the zoom on a camera, one gets the understanding that a solitary subject is in fact but a minuscule element that makes up larger and recurring motifs. Exploring tactile themes through sight, touch, and sound, there are no boundaries so the lines between real life and dreamscape are non-existent.
“We both started in different ways. I started, I guess, mostly in graffiti and painting graffiti as a teenager, whereas Myla started more as a traditional painter.”
“Well, this town is very unique and I think it really combines two different worlds, one from the past, and then one that’s moving into the future.”