The human relationship with the natural world is a complex one that doesn’t seem to untangle anytime soon. With animal life increasingly being abused and habitats encroached upon anxiety is understandably mounting. Artist Chris Musina address these issues in painting and also sculpture. Musina depicts the uglier side of the human/animal relationship. Rather than highlight idyllic scenes of nature, he draws gruesome imagery of animal mistreatment to the forefront. Animal carcasses are often kept as trophies, dead souvenirs of a once living creature. Painting’s tradition of depicting killed animals is extensive – the fox hunt alone, for example, an entire genre. Appropriately, then, Musina’s animal carcasses are not there to be admired but act as animals condemning the viewer. They seem to be holding an accounting for their present condition in the painting as well as in a larger abstract sense. They act as a tool to deconstruct disassociation. Musina further explains his use of painting in addressing ecological and animal issues:
“Dealing directly with our increasingly volatile and uneasy relationship to the natural world, I draw from contemporary animal thought and a deep phylogeny of cultural cues. My work dismantles how we look at animals via “nature morte” painters, philosophy, hunting, museum dioramas, and the like. Manifested in life size compositions full of dark humor and bright color, I am addressing the animal as neither symbol nor object, but as subject, a subject aware of his or her own powerful symbolic nature. Painting represents the bulk of my practice precisely due to its place in the forefront of a history of representing animals. My paintings are populated with animal protagonists who stare back at the viewer in an uneasy gaze; aware of that place in our cultural history– asking for compassion, mercy, or simply to be put out of their misery.”
Visual artist Jennifer Davis is well-known on the internet for her whimsical and imaginative drawings and paintings (previously here). But in one of her latest series, Davis takes her trademark renderings and has paired them with an unlikely match, paper shooting targets.
In a conversation with Beautiful/Decay, the Minneapolis-based artist explains the history of the series, starting with inspiration for a printed target seen in an architecture/lifestyle magazine. “…I learned that I could get enormous packs of different colored targets from a gun shop for under $20. I started off thinking more about the symbolism of guns/violence/innocent victims/”badguys”/etc. (one of the first targets I made was called “Riddled”- I cut an intricate pattern of tiny holes all over the target.)” Davis then began using the colored paper targets as a base, decorating them with hand-drawn and painted intricately unique characters.The series evolved as Davis began taking commissions and painting other people’s ideas and applying them to the targets. “I started doing a lot of commissions, which morphed the way I was thinking about them. It is a fun exercise for me to paint someone else’s vision- it has stretched the way I think about the targets. I no longer relate them only to violence. I think about each one differently and it is interesting for me to play with adding whimsy or beauty to such a symbol. I am transforming them into something new.”
It is almost difficult to believe that these self-portraits by Spanish Eloy Morales are oil paintings. His oil painting are generally executed on large panels such as the one above. Morales carefully blends colors and layers to flawlessly recreate his portraits. He nearly seems to consider each painting a separate test of his abilities. Morales is known to write notes prior to a painting of goals to meet that he felt weren’t met on a previous work. However, there is more to his work then a simple recreation of a photorgaph. Morales explains in Poets and Artists Magazine:
“I am interested in working on reality through the use of pictorial codes, previously understanding that it is a false relation and I always keep in mind that painting is an independent expression. Finding a meeting point that truly represents my vision keeps me going on painting.” [via ignant]
The paintings of Victor Castillo have a unique eerie style. He began drawing from a young age inspired by cartoons, comics, and album covers. Castillo finally attended art school but found himself disillusioned with his time there. After leaving school he spent some time working with an experimental art collective in his native country of Chile. Next Castillo relocated to Barcelona, Spain. It is in Barcelona that his signature style solidified.
His painted world are most noticeably populated by children wearing clown-like masks: a red nose protrudes from a white face and any eyes are conspicuously absent. Though the masks smile, there is something disturbingly insincere about the expressions. Castillo carefully sets up each scene of his paintings almost as a sort of visual parable. A small narrative unfolds hinting at a larger message. Political themes such as greed or abuse of power begin to emerge within the symbolism of each piece. Castillo makes use of narrative tools often found not only in painting, but also comics. A statement from a past solo exhibit at the Jonathan Levine Gallery further explains the symbolism behind his paintings:
“In this exhibition, Castillo’s allegorical visions of the current socio-economic world crisis come in the form of spooky children’s tales. Through acrylic works on canvas and drawings on paper, his cast of masked, hollow-eyed children serve as a vehicle to convey ominous narratives of survival, greed and indoctrination. Inspired by vintage animation, his paintings are like theatrical sketches of tragicomic situations. With cartoon-like figures in the foreground and lush, classical landscapes in the background, Castillo’s dramatic baroque lighting completes the effect of exposing corrupted innocence.”
The lush, vibrant colored pencil drawings of Joe Sinness portray screen and stage stars, queer icons, and online erotica submitters, combining them with antique or thrift store items, flowers and jewels to create carefully constructed tableaus. The technical ability of the Minneapolis-based artist is what one immediately notices, and it is only after that the viewer must attempt to make sense of the laboriously drawn scene before them.
Sinness creates each still-life by hand before photographing and then meticulously executing them with Prismacolor pencils. “I want each still life to have a visual richness or lushness to highlight and celebrate the figures or kitsch objects presented (and I use the term ‘kitsch’ with the utmost seriousness)”.In works like the Shining Indiscretions triptych (seen above), Sinness created a loose mythology which the work is based on, but does not depend upon. Titled from a Tennesse Williams quote (“All good art is an indiscretion.”), Sinness built hundreds of scenes imagining what a queer,flamboyant spirit such as Williams might physically look like, eventually settling on a triptych of shapes formed from gold lamé. The triumph of this triptych is that the viewer most certainly does not need to know this backstory to enjoy the work, because the images are so visually striking and meditative that they speak for themselves. However, they also have a strong conceptual intention and purpose which informs the work for those who wish to dig deeper.
Sinness continues, “I am interested in how objects and people seeking fame become consumable products, a paradox that sees their artistic endeavors pursuing immortality become disposable and commodified. My imagery and subjects are first looted and then loved… In mining these subjects and devotedly recasting them together in shrine-like still lifes, they are given new life in narratives which mirror their subject’s original aspiration and desire for fame and immortality.”
Artist Nathan Walsh‘s paintings of urban environments seem impressively realistic. The attention to detail in turn demands the viewers attention to small pockets of each canvas. Varying textures, reflections on water and glass, effects of light are all captured so acutely, it’s nearly mesmerizing. Exploring each piece is similar to exploring that little patch of neighborhood as a tourist. However, it is Walsh’s careful attention to perspective that set his work apart. It is easy to understand why he may often be lumped in with a larger group of Photorealist painters. However, close consideration of his work reveals Walsh isn’t set on a meticulously faithful reproduction of a photograph or scene. Rather, he seems to endeavor to depict the idea of a space, the feeling of depth.
In his essay on the artist, Michael Parasko expounds on this and writes concerning Walsh’s use of perspective:
“The way Walsh constructs pictorial space takes two forms. The first is a horizontal extension and the second an illusion of depth. Both are exaggerated so that neither method results in the reproduction of nature; yet in such exaggerations Walsh has sought to create believable space. We are convinced into thinking these are images of the world as it is, but the truth is that space in these paintings is not really like the space we inhabit at all. They seem to prove Quintallian’s old adage, ‘The perfection of art is to conceal art.’…Although there is real quality in the way Walsh extends space in this lateral way, my personal view is that Walsh’s most individual works are concerned with the illusion of deep space within the canvas. In these there is a real sense of an artist balancing the need to maintain the illusion of reality with the desire to push the illusion of very deep space to its limits.”
The saying “home is where the heart is” very rarely relates to contemporary art. And though the works featured here are not directly about home, they are informed to some degree by immediate family,relationships and experiences that stem from it. In a global spectrum of east meets west these five artists come from genres ranging from Chinese Avant Garde to lowbrow painting, from surrealism to contemporary portraiture, to name a few. The paintings, mixed media works and digital media stills of artists: Song Dong, Brooke Grucella, Seonna Hong, Aaron Holz and Zhang Xiaogang exemplify the diversity with which the artists’ loved ones have become not only the subject for the works, but also at times part of the process, as well as a platform to tell a story that becomes increasingly universal.
I recall visiting the Yerba Buena Center for the Arts in San Francisco a couple of years ago to see Song Dong’s massive solo exhibition of works made with his family members as subjects, as well as a massive installation that incorporated decades worth of of family possessions as material. His work is deeply personal, with a strong narrative thread, and truly draw you into his world with their reverence and profoundly flawless execution. Zhang Xiaogang’s works from his series Bloodlines uses other family portraits as a vehicle for conveying the experiences of his immediate family that they experienced as he came of age during the Chinese Cultural Revolution. Each piece in this series has a thin red line that weaves throughout the composition, symbolizing the connection of heritage and family.
Artist Brian Adam Douglas makes use of a unique process. Before exhibiting at galleries, Douglas began his practice on the streets of Brooklyn under the name ELBOW-TOE. His distinctive style was easily spotted as he used wood cuts, charcoal, collages, and stencils throughout New York City. Douglas has since further developed his process, style, and subject matter. He has retained his painterly style that could be found in his street art and paintings. However, Douglas now applies this to a special kind of cut paper art or collage work. In fact, he prefers to call it “paper painting”. Douglas paints individual parts of paper precise colors and carefully cuts them. All of these small pieces are then often adhered to a wood panel to create one painting-like composition. While he has often focused on individual people, Douglas has now ‘zoomed out’ in a sense. His work now often encompasses entire landscapes or scenes. These scenes frequently touch on natural disaster and specifically the way people cope with them. The statement of his current exhibit at Andrew Edlin Gallery further describes this style:
“Virtually all of the works in Douglas’ new series deal with the rebuilding of life and purpose in the wake of catastrophic deconstruction brought on by natural disasters and climate change(including overt references to Hurricanes Katrina and Sandy). They are not merely about the breaking down of things but about an innate capacity to cope with disaster and the rehabilitation of purpose. Spending up to half a year on a single piece, Douglas’ laborious process demands a pictorial integrity where nothing is wasted and everything serves his intensity of purpose. Forgoing the relative ease and fluidity of the brush stroke, the artist methodically builds his compositions through shards of color incised from sheets of paper he has painted, forging a novel way to combine painting and collage into a singular hybrid.”