Made in Taiwan focuses on the rich color of Taiwanese life, from temple gods and dragons, to the ornate style of a Taiwanese opera. Stoffel was amazed by what he found as he started to dive into this unique culture surrounded by industrial destruction.  "Everything I saw was grey, stone smoke stacks, concrete housing, ash rising from burning bins of sacrificial paper... but I would leave this world whenever I stepped into the elaborate temples.”  

Robert Bangiola, Deputy Director for Materials for the Arts, of the New York City Department of Cultural Affairs, praises, “Stoffel’s brightly colored images of people and structures all convey a warm and welcome composure. In a time when urban society offers a choice between paranoia, caution or conversely a sense of community and sharing, his work opens doors to see our fellow humans in a personal, sweet moments.”  

Artist Bio: Lucas STOFFEL b. 1978

Last year’s recipient of New York’s Starving Artist Award and a two-time best-selling artist at the Starving Artist Ball, multi-media pop artist Lucas Stoffel has been commissioned by private collectors all over the world.  In 2007 Stoffel was honored as the selected artist for the amfAR Rocks benefit at the Puck building, and went on to be selected to feature his work in AM New York’s Premiere Art Rocks Event, before being commissioned by Ralph Lauren’s daughter Dylan to do a candy inspired series called Sweetness for her Boutique.  Stoffel ended the summer of 2007 displaying his Award-winning project “iCon” at the Prince George Gallery on 27th Street, before heading off to work on his current project in Taiwan.

In addition, his “911 Emergency” panels (taken from his award winning “iCon” project) are currently under consideration to be showcased as a part of World Trade Center Memorial Museum.  Stoffel also looks forward to ‘08 as he plans his intensive look at Japanese culture with his upcoming work Japan-a-nation slated to begin in June.  

By challenging the natural aesthetic and tradition of fine art within a digital age, Stoffel merges dehumanized technological and modern graphic aspects with a variety of warm mediums. After emerging from Stoffel’s photography, each piece then morphs into dimensional communication that beckons touch and arouses curiosity.