Tate Ellington, known primarily as an actor, is also a self-taught painter, with an exhibition history that expands from NYC to Los Angeles. Working from doodles, conjured from found magazines, photographs, medical reference books, and/or an automatic sense of line, using mostly oils as his medium, Ellington inevitably focuses in on facial nuances, stating, “It’s what I identify with the most, so naturally, they come more.”
Each portrait carries a sharp bend of drama, as though the artist is implicated or interrupting more so than puppeteering the performance. Likewise, this is what strong acting does. In this way, Ellington seems to connect his two artistic loves, asserting, “In acting you are supposed to look for the truth of a character or of a situation. You can also be called to exaggerate the truth, if necessary. I think this is what I try to do with my paintings. I try to find the person by exaggerating him or her.” Each stroke is not just about the surface, but a discovery, or search for our own sense of play or performance as human beings.
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.”
The highly detailed paintings of Valerio Carrubba offer an unexpected combination of styles that strangely complement each other. His scenery and figures seem to emerge from a Renaissance and Baroque tradition. Mysterious hands pull and cut at the flesh revealing each subject’s inner anatomy in a nearly cold way very similar to modern anatomy atlases. The scene as a whole, however, bears the definite influence of surrealism. Carrubba works these various styles and aesthetic sensibilities as skillfully as the oil paint. The boundaries are seamless and carefully worked.
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.
Sean Mahan’s refreshing acrylic paintings on wood depict girls as creative spirits deeply empowered by and engaged with their own crafty muses. Unlike the classical order, where female figures were often shown as objects that inspire– here, the buzz of breathing maker is most present within the the young lady subjects themselves. Each portrait shows a confident furrowed brow or contemplative daze completely focused inward on a project at hand, unaware of the artist’s gaze. Their identities appear to be emerging from within, not dependent on an external eye.
It may take a few glances to realize the work of Juan Carlos Manjarrez are paintings and not photographs. Manjarrez captures an amazing amount of detail and realism in his work. His black and white palette coupled with a photographic sensibility only add to his paintings’ hyper-realism. Amazingly, Manjarrez is a self-taught painter – though he has attended graduate school, he majored in architecture. Manjarrez has been exhibiting professionally for the past twenty years.
The paintings by Michael Ray Charles depict controversial imagery regarding racial stereotypes from the past and present commercial culture. In Print Mag, he suggests his usage of such stereotypes are not designed to thrill, throw, or flaunt, but more so to excavate their societal relevance, revulsion, and power– examining how each affects our personal symbolic lexicons. It’s an ongoing compounding struggle to discern and detach from this branding.
Regarding this, Charles asserts, “I think about so many people whose lives these images have affected. A lot of Black people have died and many are dying under the weight of these images. That’s motivation enough for me to explore, and deal with, these things.”
Artist Gina Ruggeri skillfully plays with perspective and spatial illusion. Her work often takes the form of painted Mylar cutouts employing trope-l’oeil techniques. Natural objects such as logs, stones, and smoke seem to float off the wall and into the gallery space. In other work the white walls give way to rot, decay, and caverns. Though Ruggeri’s work is eye-catching a definite and clear painting tradition stands out in her work. She frequently forgoes the traditional canvas for plastic film but her composition and techniques is reminiscent of past styles. The background landscapes of Renaissance portraits appear to have outgrown their frames (and conventional physics for that matter) and now unfold directly on the gallery walls.