Ted Tucker’s paintings are magnificent homages to drunk frat boys, cheerleaders, trophies, and friday night keg parties with a dash of cheesy tv show from the CW network thrown in. Not only are Ted’s paintings fantastic but he also has made the package complete with his choose your own adventure website for the series. Make sure to select the Flash option and let the good times roll!
Shan Hur‘s sculptures interact with the gallery space in a unique way. He embeds his sculptural work inside walls and pillars throughout the space. Each piece almost seems if it is in the middle of being excavated right out of the gallery wall. In this way the sculpture brings the entire gallery into the work of art, and by extenstion its visitors. Interestingly, Hur says of his work:
“One of the issues I have focused on is how to reduce the burden of the volume of sculpture. I then connect this mass to its surroundings, but not just as part of the whole. I think sculpture should communicate with its circumstances.”
David Hornung makes paintings from both oil and gouache. He paints quiet simple, small houses located in fenced fields, bucolic scenes of nature, solitary women and men, memento mori, snakes and birds, paths and walls. Objects in his paintings seem to be a distillation of universal human experiences with the world and among each other. Some objects are singled out as being important by a kind of twin cloud, the direction of light, or glowing patches of color. The paintings are beautiful executions of color theory, which makes sense because David wrote the book on color theory “Color: A Workshop Approach.” His subject matter hovers between observation and the symbolic, and he refers to Philip Guston’s Alphabet series with plain respect, and like Guston, David was reluctant to talk about image-based thinking. We walked through Brooklyn on the way get some lunch, and David said that painting is hard to talk about because the ideas come out of working with images, that the process gives painters their ideas, which is a kind of reversal, because for most people who work with ideas – the ideas generate the process.
You can see David Hornung’s work at the John Davis Gallery in Hudson NY from May 23rd to June 16th.
Artist Jesse Krimes stands in front of his 39-panel mural Apokaluptein:16389067 (federal prison bed sheets, transferred New York Times images, color pencil) installed, here, at the Olivet Church Artist Studios, Philadelphia. January, 2014.
In 2009, Jesse Krimes (yes that is his real name) was sentenced to 70 months in a federal penitentiary for cocaine possession and intent to distribute. The judge sentenced Jesse to a minimum security prison in New Jersey, close to support network of friends and family, but the Federal Bureau of Prisons (BOP) opted to send him to a medium security facility in Butner, North Carolina.
His way of coping with the life-changing sentence went a bit more differently than you would expect. He got by with a little help from federal prison bed sheets, hair gel, The New York Times, and some color pencils. Although money was limited in prison, he never struggled to gather enough money to purchase these objects. You might be thinking these are random, but, in fact, they are what made prison life a somewhat more passable experience.
While experimenting with these four materials, Krimes discovered that he could transfer the newspaper images onto the prison bedsheets. At first he used water to do this, but that did not work. Hair gel, on the other hand, had the requisite viscosity to do the job. He was not aware that three years after, he would end up with a 39-panel mural. Each transfer took 30-minutes. Thousands make up the mural. Krimes only worked on one bed-sheet at a time, each of them matching the size of the tabletop he worked on. The laborious routine kept Krimes sane, focused and disciplined.
Virginia Wagner’s paintings stem from real life events that she manipulates and distorts through lenses of fantasy, dream and theater. The ponds, rock fields and tangled forests in her work are her internal wilderness projected onto the external world. The glass walls, grids and concrete bunkers are attempts to erect something permanent and keep the wild at bay. The clashes that occur at this juncture illuminate the conflict between progress and nature inherent in my state of mind as well as in our contemporary state.
Shane McAdams abstract and landscape paintings are created with a mix of acrylic paint, resin, and your average ballpoint pen ink cartridges. McAdams takes ink from the pen cartridges and pours them onto the canvas surface, blowing on the ink to create the streaks of color. But the experimental nature of his works doesn’t stop there. He then subjects his works to the powerful lights of a tanning salon which cause a chemical reaction to the pen ink which then creates the tie dyed streaked effect.The result is a world unique to McAdams where the natural and the artificial collide to create spectacular visions of a utopian and hyper colored future.
A living snake wrapped around a face, a dozen of ladybugs, a scorpio and an howl using that same face as a structure. That is the set up of a fantastic photography series by Juul Kraijer called ‘Penumbrae’. The titles evokes darkness and shadows. It’s what we are getting visually and internally. The artist is inspired to manipulate reality, in the end, she gets to manipulate us, the viewer, in a disconcerting way.
The models are just the vehicle for ideas, they are not to be considered like portraits, nor are the animals. Clearly the main subject is twosome: the fusion between the animal and the face and the dark background. The intriguing face/animal amalgamation stands out from the shade, as if it had been sitting in the dark for an eternity. It will appear for a brief moment and then will go back into the gloom exactly the way we saw it at first, for all times.
Imperturbable tranquillity is the general tone. Despite a unsettling scenario that could create an anxious atmosphere, the calm sported by the faces leaves a mark of grace, the same expression that is usually found in Renaissance portraiture. Juul Kraijer is fascinated by surrealist photography, hence the execution of her series. Surrealism is about getting rid of the mind and the reason to only let the imagination dive and drive into the interpretation of the picture. Ideas and dogmas cannot be suggested, personal understanding cannot be captured.
The artist has created provocative poses. By elevating the animals on top of the faces she questions the hierarchies between humans and animals, models and accessories. The fact that the roles are reversed creates intensity, almost a tension. Comparably to the symbol of eternity described above, the use of the mirrors creates oddity and redundancy, which extends the feeling coming out from the photographs. The viewer is tempted to look away but there’s an indescribable attraction, a desire to see more.