Melbourne, Australia based artist Adam Lee’s paintings draw from a wide range of sources, including historical photography, Biblical narratives, natural history and contemporary music, literature and film, in order to investigate aspects of the human condition in relation to ideas of the spiritual and the natural world.
Midwest illustrator Sabrina Burbaker is a self described is an illustrator, pack rat, insomniac (robot), horror enthusiast, eldest child, dog lover, & maybe-possibly-probably wino. When she’s not busy being all of the above she spends her time making beautifully detailed pen and ink illustrations with a slightly dark sense of humor.
As you can probably tell by now we’re big fans of color over here at B/D. Athena Melton is a fan of color as well, bringing us these gorgeous monochromatic still life photographs. It’s amazing how a simple move such as grouping similar colored objects together can completely change the dynamics between them and create a powerful visual. Kudos to Athena for a great body of work.
Elisabeth Higgins O’Connor upcoming show at Charlie James Gallery opens November 5. Titled Dreadful Sorry Clementine, Elisabeth’s solo exhibit takes its name from a children’s nursery rhyme – the original being sing-songy and childish, but contrasted with dark, melodramatic lyrics. This contrast relates to Elisabeth’s work as well, as she continues her practice of walking the line between familiarity and chaos. Working with commonly available materials such as bed sheets, bedding and other discarded domestic fabrics; Elisabeth creates sculptural works that address the unique fascination we experience with the allure of the grotesque.
If you’re a fan of Elisabeth’s work track down a copy of Beautiful/Decay: Supernaturalismwhich features an in-depth interview with the artist. Unfortunately the book is sold out but with some digging you can probably find one on eBay. Just another reason to subscribe to B/D and avoid missing a book featuring your next favorite artist.
Dexter Fernandez bravely experiments with images culled from adult magazines and puts a new spin on them by adding layers of mixed media on the repainted images. Thus, he only hints at their original context, as he turns them into nearly abstract configurations, especially when viewed from a distance. Fernandez is not afraid to say, “Art is porn, and porn is art,” not drawing a line between what is acceptable and what is taboo. To him, both aim to entertain and satisfy the senses.