Laura Krifka’s work feels both classical and contemporary– a collection of myths that transcend time, stuck on the spin cycle from one era to the next. There is a soft religious quality in each face as he or she slowly responds to pending doom, lurking out of view. Such off stage suspense, feels exactly this way– theatrical.
The dramatic cliche breathes with familiarity, reminding us of our own cyclical head space in relation to history, story archetypes, life, and to our own animalistic emotions or neurotic human obsessions. It’s why we make art and why we repeat ourselves generationally and artistically.
Of her paintings, Krifka states, “I create a world populated with naive and innocent figures acting out their own legend, blind to the dangers around them or those that exist within themselves. In my work the fantasies and clichés of our own world combine and breed, creating a hyperbolic landscape populated by a society lost in their own myth.”
Katie Sims, born in 1988, is an emerging British artist gaining strong momentum in the art world– receiving the Jerwood Drawing Award and Richard Ford Award, Residency at the Museo del Prado, Madrid.
According to Pryle Behrman, Sims paintings “pay homage to masterpieces by Mantegna and Poussin, but deconstruct their studied, graceful air through the organic fluidity of her brushwork and the incongruous addition of geometric shapes that further undermine the compositional structure of her source images.”
Additionally, and on a purely guttural level, each piece is paradoxically busy in a faint and strange minimal manner that is truly difficult to execute with a certain consistent visual ease.
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.
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.”