Canadian artist Luke Painter works in many disciplines, including drawing, printmaking, and mixed media installation pieces, though I think what I enjoy most are his Flash animations. These animations, which seem to be procedurally generated to some extent, depict a futuristic urban landscape in which structures come alive with moving mechanical parts.
I was quite surprised when I found out the work of Canadian artist Ross Racine was completely hand-drawn. While some compositions are more realistic than others, all of them could pass fairly easily as documentary aerial photography of yesteryear, perhaps taken from government planes after the great post-war suburban explosion. Some of his drawings are minimal, some much more complexly textured; all present an interesting fictional view of suburban and rural America.
Caroline de Vries’ portrait photography is stunning. She experiments with the medium of photography as well as with the context and presentation. Through this exploration she encourages the viewer to construct links between subject and context. In “Unknown – Known” she assembles a “visual relationship” between two strangers by replicating the facial expression, position and facial features of a found portrait.
London based illustrator Andrew Clark brings together the photorealistic, the abstract, and the geometric. His work seems to hint at the future, while interweaving what feels like folklore into his intricate illustrations.
Clark has created work for magazines, album covers, posters, and corporate identity.
The Company is pleased to announce the exhibition of “Jesse Reding Fleming’s Methods of Invisibility: Shades of Gray (2001-2009).” In addition to an installation in The Company’s main exhibition space, the video for this project (shot while driving from California to New York in 2001, edited in 2009) will make its world premiere in The Company’s video garage. Jesse states, “Eight years later, returning to California and for my first show in LA, it seemed to be a suitable time to reopen it for completion.”
Subrosa, 2008, 48 x 48", acrylic on canvas, images via Sloan Fine Art
Back in January I walked into Sloane Fine Art and found wallpaper-esque paintings that were floral, decorative, rich in color, and do I dare say, pretty. I roamed the gallery admiring the intricacy of the patterns and its hand crafted details. I then discovered each painting had layers with one design overlapping another in drip-like shapes as if one flower pattern was splattered atop and its remains slithered across the picture plane. It doesn’t end there.