I feel like most people dream of falling in love one day, but what if that day turns into a year – and then another? What if the act of falling in love becomes an all-consuming force that necessitates the creation of your own color-coded language? What if your name is Michelle Jane Lee, and this series of ‘what ifs’ has actually been your life for the last three years? The end result of that experience might resemble a thirty-foot love letter and a mountain of other drawings representing your unmentionable thoughts and desires for a woman that would ultimately come to reject you. A hard pill to swallow for most, but Lee seems undeterred in her pursuit of the unattainable. After all, true obsession is captivating – for both artist and audience in this case. Her work is incredibly personal, absolutely honest, and exceptionally beautiful. If you are in or around Los Angeles on April 7th – I recommend that you attend the opening reception of her most recent solo exhibition at Gallery 3209.
Street artist Pejac uses trompe l’oeil to fool our eye in everyday places. The Spanish creative paints realistic-looking doors and windows that’ll make you do a double take while walking by. His skilled artworks perfectly blend colors and textures to give them the appearance that you could reach out and touch them.
In addition to the optical illusions, Pejac also paints playful and serious scenes, often using silhouetted figures. A young girl – a giant – uses the power of a magnifying glass and the sun to set tiny figures on fire. Another person attempts to deface a wall, but the splatter features Manet’s iconic The Luncheon on the Grass. And, in a more poignant piece, a portrait of the world appears to run down a sewage drain.
The common thread of Pejac’s work is that it is all clever – in its execution and concept. Even though the imagery is disparate, you can tell it’s his signature. (via WETHEURBAN)
Alberto Seveso’s high speed photographs of ink mixing with water are hypnotic and fascinating. Each shot depicts pushes of color twisting and bending with an emotive cadence, lulling itself into an ephemeral sculpture, detailed with sharp visceral attention.
Although such imagery is not new, per se, this specific collection feels intrinsically magnetic due to the captive nature of submerged color naturally bonding or relating before diluting. It’s more about documenting the ease of abstraction than pushing a forced abstract agenda.
Portia Munson turns one thousand garages worth of plastic kitsch and junk into surprisingly beautiful mounds of stuff that both uplift and mock our contemporary consumer culture. Portia will have a new installation at the PPOW exhibition “Debris” opening March 20th- if you are in NYC be sure to check it out.
Through a series of provocative self-portraits rendered as paintings, photographs, and film, Andrea Mary Marshall examines the intersection of identity, female sexuality, and consumer culture in the context of the “ideal woman.”
“A Woman is a beast. She is as lovely as she is repulsive. She is one part demon and one part goddess…one part slave, one part muse…one part child and one part mother…these contradictions are what make a woman so intoxicating.” – Andrea Mary Marshall
Toxic Women is a narrative collection of work that looks at the implications of trying to live up to the cultural figment of the “ideal woman”. Through identity play that borders on performance, Marshall reinvents herself as highly developed characters meticulously crafted through the art of fashion, makeup, wigs, and props. For her series of “Vague Covers”, Marshall depicts the “toxic woman” as a dichotomy, born out of a pursuit of the ideal, simultaneously adored and rejected by society. There is the addict, the temptress, the woman with no boundaries, the self-saboteur, the perfectionist and the fame whore—archetypical toxic women Marshall has both encountered and embodied. Beginning with the “Vague Covers”, and carried out through the entire collection, the work explores the space where feelings for this toxic woman turn from infatuation to disgust, from attraction to repulsion. “We all have our demons. We can’t move into the light unless we’re willing to look at our darkness.” – Andrea Mary Marshall
Bill Durgin‘s “Figure Studies” explores the human torso as an abstract form. He often takes inspiration from dance and other performers to capture images of the human body, (sans limbs and heads), as if their skeletons had lost their rigidity and become part of their skin, fat, and flesh. Durgin would demonstrate different poses he took away from performances and ask his models to imitate them – a lot of these guys must be yoga ninjas.