Inspired by her Oakland surroundings and the mysterious life of collected objects (from homeless shopping carts to a public disposal & recycling area), Amy Wilson Faville collages her own drawings in with an assortment of vibrant materials such as old mattress fabric, file folders, vintage wallpaper, and other scraps. Comparable to quilt-making, Faville’s compositions incorporate consistent patterns with eclectic pops of color, conceptually mirroring her subject matter.
Speaking on her Carts series specifically, Faville states, “My goal was to use the power of beauty to transform images of squalor into splendor.”
Feng Zhengquan, born in 1976, lives and works in China. His oil paintings place contemporary candy-like imagery of lipsticks, cosmetics, fruit, foliage, and creatures: all reminiscent of contemporary Asian pop culture, into old world spatial compositions– think Dong Yuan, to examine the abstraction of contemporary spaces or environments. How much of our own landscape history is virtual and how much is physical? The blurring of both is what draws us to these pieces regardless of nationality.
Myoung Ho Lee, with the aid of assistants, cranes, and ropes, places blank white canvases behind trees in various natural settings throughout South Korea– in order to bring a part of the background into the foreground. According to The New York Times, the artist only digitally retouches “the trace of his own hand” because “If the mechanics of the artwork were visible, it would be easier for people to recognize the scale and the method . . . I want to hide them, to infuse a magical and vague aspect to my work, so that viewers may question and try to find answers themselves.”
Photographer Joe Maloney revisits the art of summer slumming along the east coast in his retrospective show “Asbury Park and The Jersey Shore, c. 1979″ at Rick Wester Fine Arts. Maloney, according to The New Yorker, chose Asbury Park specifically because the area was “distinctly working-class, non-affluent, semi-urban, slightly run-down beach town, with a music culture and a vibrant street life.”
Most striking about this collection, however, is not just the “Darkness On The Edge of Town” vibe meshed with beach resort kitsch, but even more so, the intense level of isolation that vacation culture embodied before cell phones, Wi-Fi, and the Internet at large. Each portrait seems quiet somehow: subjects full of secrets and aspirations. Its a trapped or estranged sort of quiet that I strangely miss . . . and maybe long to reclaim.
Living and working in Budapest, Alexander Tinei originally hails from Caushani, Moldova, and his work seems to reflect the historical and current climate of these two places– a certain transition into post communism mainstream. That said, however, I would avoid labeling his work as something political. It feels more personal or social, examining identity as it relates or responds to its fluid environment. The darkness in each image is a certain type of natural blooming that slowly corrodes. Emphasis is not on reckless destruction alone, but the cultivation and freedom to pursue it.
Megan Van Groll paints women– mediating on the fine line between nakedness and nudity, or how these two concepts relate to freedom or identity. Likewise, from bathing in cocoa puffs to sensually brawling at a donut shop, her food motif is an interesting one, often working in tandem with the female form– provoking thoughts of fetish from the outside, but also, a much more personal and complicated binging ceremony.
Of her own craft, Groll states, “My narrative portraits of women are, at their core, a painted attempt to understand and portray how modern women create identity and meaning from the world around them. I am interested in exploring the way we perform our projected ideal personas, for ourselves and for others.”
Maybe it’s because I live in Los Angeles where rain is seldom and driving culture is strong, but these oil paintings by Tom Birkner make me want to dig through my tape collection– yup, tapes– and pop a little Tom Waits in before heading out onto the highway. I would extrapolate on this connection, but I think the actual lyrics from “Diamonds On My Windshield” illustrate it best–
Blazing through this midnight jungle Remember someone that you met One more block; the engine talks And whispers ‘home at last’ It whispers, whispers, whispers ‘home at last’, home at last
We are comparable to moths. This is what I think Bernardi Roig is doing with his mixed media pieces: allowing us to see our own attractions to the glowing lights brought forth with the Information Age. From computers to iPhones to tablets– our desire is instinctual or . . . mindlessly animalistic. I’m thinking here also about near death experiences: going towards the light. Remember that iconic scene from Poltergeist? Carol Ann. This too. It’s not about where our bodies gravitate or evolve, but how we speak to the light and what we leave behind as we travel towards it.