Marc Séguin’s Darkly Humorous Oil Paintings at Mike Weiss Gallery

Touching on themes of the politically backwards, the environmentally compromised and the socially divided, Séguin’s “Illustrated Guide for Aliens” reveals deeper truths about the nature of humanity through images that are not only thought provoking but beautifully elegiac.

 

Brooklyn/Montreal artist Marc Séguin has a show with Mike Weiss Gallery in NYC through October 13th. In case you can’t make it out in person, we’ve got some snaps for you. The show is titled My Century (An Illustrated Guide for Aliens), and features fairly large works (most are 6 x 9 ft.) done in oil and charcoal on raw canvas. The paintings also contain unorthodox materials like taxidermy, locks of hair, and tar. This is Séguin’s second solo exhibition with the gallery, and it seems he’s taken things up a notch since his last show with Mike Weiss in the spring of 2011. The humorous works do a great job of illuminating the major imbalance of wealth and power in contemporary times, and don’t pull any punches. See more from My Century (An Illustrated Guide for Aliens) after the jump. Read More >

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Jan De Vliegher’s Porcelain Plate Paintings

 

For his first solo exhibition in the United States, Belgian artist Jan De Vliegher creates a series of monumental paintings which reference the artist’s obsessive hunt for otherwise overlooked porcelain plates. United in their ritualistic and repetitive compositions the series of circular abstractions reveal De Vliegher’s fascination with the painting experience while also speaking to broader themes of contemporary collecting.

Like a cultural anthropologist, De Vliegher meticulously documents his varied sources of inspiration in their traditional museum context. The lush colors, dramatic brushstrokes and overpowering scale of his work, however, starkly diverge from the otherwise controlled subject matter. The subsequent rush-infused paintings transcend their representational qualities and assume the commanding presence of contemporary abstractions. In the same way Baselitz’s act of turning his paintings upside down avoided a literal and linear interpretation, De Vliegher ignores the differences within the distinct plate genres—from French Rococo to Qing dynasty—and imbues the work with a palpable essence that is reflective of the artist’s unique, energetic input.
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