In Brian Bress’s photographic and video work, masked and costumed figures populate surreal, collaged and painted landscapes; his works are then housed in brightly colored, custom-built frames. His backdrops reference modernist and abstract works—Roy Lichenstein’s dot paintings, Matisse’s cut-outs, Cubist and primitivist painting of the early 20th century. His often-faceless characters resemble the cartoonish figures of children’s shows and cereal advertisements—at once monstrous and human, but appearing unwound, engaged in repetitive activities, and possessing slow, leaden movements. In Beadman (Parker) (2012), a clownish figure decked head-to-toe in colorful wooden beads jumps on a trampoline, while in Cowboy (Brian led by Peter Kirby) (2012), a man encased in a white foam cowboy suit scribbles childish drawings directly onto the glass screen. Bress is concerned with exploring fabricated space, and probing the relationships between figure and ground, painting and video, animate and inanimate.