British artist Sophie Derrick paints directly onto her skin and adds colorful layers of swirling pigment to her face and neck. Once she’s completed it, she’ll photograph the result and then paint onto that image. The result is a multi-layered, textured portrait that gives the viewer an incredible sense of depth. Derrick’s painting style is abstract – focusing on bright pinks, blues, oranges, and more – and she’ll vary how the paint is applied. It often looks like she uses a palette knife to make thick, frosting-like strokes, but she’ll also use the paint tube to draw lines on the skin.
“I have a great interest in the materiality and substance of paint, and execute this interest through photography, creating a juxtaposition of the two mediums,” Derrick writes. “My body becomes the canvas for the paint, questioning the traditional concept of painting and portraiture, and the barriers between painting and photography. The body becomes both object and subject in the work.” (Via Art Fucks Me)
Australian artist Elspeth McLean takes ordinary ocean rocks and turns them into colorful, geometric Mandalas. Through intense detail and repetitive patterns, the artist finds meditation in painting these found stones with endless acrylic dots. The acrylic paint used on her pocket-sized creations allows her to add an element of dimension in her already layered colors. These intense colors create a palette so crisp and brilliant, it is as if the stones are encrusted with jewels. Painting dots has become so embedded in McLean’s art process, that she even coined the term “Dotillism” to describe her unique style. Each dot that is painted to create her intricate, endless patterns takes an incredible amount of patience and focus. Although completing these Mandala patterns may seem like a difficult task, McLean describes this process as a grounding experience where she can find enjoyment and experience reflection.
The Mandala is a spiritual symbol in Eastern religions that holds meditative properties. It is no wonder McLean has chosen such a strong, healing symbol in her work, as she believes in the healing nature of color and art. She pulls influence from seasons, cosmos, mythology, and ancient art to create her hand-held Mandalas. Her interest in the cosmos can be seen in her stones that are painted not as a geometric pattern, but instead as incredible constellations, still painted in her dotted signature style. An avid traveler, the Australian artist is now living in Canada, gathering inspiration from the new landscapes she perceives throughout her journey. (via Demilked)
Alexandra Levasseur’s complex paintings are filled with emotion and beauty. With heavy brushstrokes dripping with color, she creates scenes of tormented women in a strange world filled with golden halos, burning asteroids, and melting faces. These faces depict a deathly pale beauty that is often transformed and altered by thick globs of color or all encompassing flora. Levasseur explores themes of love and fear, anguish and unsatisfied desire in her body of work.
I am interested in depicting both the solitude and the bipolarity of the existence of the human being, through the representation of memories. I question the relationship between physical comfort and peace of mind, and how the environment around us can affect this state of mind.
Her women are set in scenes of rolling hills of flowers and palpable paint amongst other wilderness. However picturesque the setting may seem, there is a sense of distress and loss. Some of the women lie in a lush, colorful sea of flowers, but still have a look of distress on their face. There is repeatedly a flaming asteroid in the background, implying an impending doom. Levasseur beautifully portrays these women full of emotion, with an inevitable tragedy behind their eyes, if they even have eyes at all. Many of the faces have eyes hiding behind strokes of color, or holes where their eyes used to be. Each woman, beautiful in their own right, is lost and being engulfed in her equally as beautiful surroundings. All of the seeping colors, crushing flora, and heartbreaking women become meshed together in Levaseur’s paintings. She represents this world as a single organism, blending color and form.
Alexandra Levasseur’s solo exhibition Body of Land is on view now at Mirus Gallery in San Francisco.
Peter Saul’s perfectly grotesque; strangely cartoonish paintings are filled with political and anti-political content. Having been born in the 1930’s, he has lived through an immeasurable amount of political turmoil. His highly illustrative paintings come bursting with endless social commentary, with more than just a bit of humor. Associated with the Chicago Imagists and the west coast Funk Artists, Saul’s style contains heavy influences from pop culture and surrealism. His distinctive style is harshly cartoonish due to the brilliant colors and flattened space. The characters in his paintings have bizarre, exaggerated features such as big, bulging eyes that pop out of the person’s skull, and tentacle-like appendages that bend and stretch clear across the composition. Although this may remind you at first of the cartoons you watched as a kid, examine the paintings longer and you will see enormous nude body parts and plenty of oozing bodily fluids. These hilarious and misshapen characteristics further express his thoughts on these characters; some real, some fiction.
Although Saul’s style is derived from sources many may see as lowbrow, his skills as a painter and an artist cannot be denied after seeing his complex, multifaceted compositions. Saul is a master at taking silly, iconic imagery from pop culture and mixing it with the grim, violence of reality. Experiencing his paintings is a journey through time, as they include imagery of the Vietnam War, Martin Luther King Jr., and Ronald Reagan. However, the messages and situations depicted in these scenes still ring true today. Peter Saul’s long art career is memorable to say the least. You can see his powerful work in person at Venus Over Manhattan gallery in NYC where his exhibition From Pop to Punk will be on display until April 18th.
Japanese artist Yoshitomo Nara, famous for his paintings of small children and animals, has a new solo exhibition in Hong Kong called Life is Only One. It recently opened at the Asia Society, and the title of the show comes from Nara’s artwork of the same name. This painting features a child holding a skull and contemplating existence. Conceptually, this isn’t foreign territory for Nara. In an interview with Asia Society, he explains, “When I was a child, the word “life” itself, of course, was a foreign concept. After turning 50, however, and with the deaths of people close to me and with the recent earthquake, I started to think about life more realistically — the limits of life, and the importance of what one can accomplish during that time.”
The children seen in Nara’s works represent what’s inside his head. He describes to Asia Society:
The children were not something I had sought or thought out, but in trying to capture what was in front of my eyes, they appeared as I tried to capture what was formless in my mind. I think, therefore, that my world expands upon my past experiences and memories, and the speaker for my own mind appears as a child. But really, if anything, those children appeared very naturally on the picture plane.
Life is Only One is on view until July 26 of this year. (Via Hi Fructose)
Javier Galindo, an artist of many talents, uses ready-made objects to create an interesting narrative that comments on possessions we value. By nature, humans are collectors. So much so, that we even have an entire T.V. series dedicated to this hoarder phenomenon. In Galindo’s series The Incomplete Tour, he creates objects that mimic, question, and alter keepsakes and mementos often collected by travelers and tourists. Specifically, he references “The Grand Tour,” a trip that many youth would take during the 18th century across Europe. The purpose of this journey was to gain knowledge of the Western world’s cultural history and to be exposed to its many treasures, such as classical antiquity. To preserve their memories, as we often do today, they would collect souvenirs. Galindo’s question is, what is this memento actually worth? It is by no means an original; it is just a fragment or a trace of what was experienced.
Influenced by classic antiquities, Galindo’s series transforms and skews these fractures of remembered treasures. The series is comprised of a wide variety of mediums including cast plaster and oil paint, as it also is included two-dimensional and three -dimensional works. Focusing on portraiture, the once traditional portraits and busts are now sliced and stacked, skewed by paint, or literally cut out of their frame. In a world where we are obsessed with documenting every moment through digital photos, it is interesting to see a reference to a time where the only way to keep the moment with you, was through collecting physical souvenirs. A photograph is like a still memory, a fragment of an event that can often warp the true memory. Just like a photograph, Galindo’s mementos are just fragments of the whole; they are hints of a narrative further skewed by Galindo’s artistic eye.
Artist, illustrator, and muralist Saddo creates paintings that are a fusion of birds, humans, armor, and more. In stately-looking portraits, these hybrid creatures look as though they’re ready to enter battle or to try and cheat death. Sometimes, act as the grim reaper themselves. The dark-colored images match the somber subject matter, and many of Saddo’s surreal works are meant to echo that sentiment.
The catalyst for Saddo’s subject mater comes from a move to Lisbon with the artist Aitch. Some imagery is influenced by Spanish and Portuguese explorers and conquistadors from the 15th to 18th century, as well as illustrations of birds, Islamic miniatures depicting battle scenes, and science fiction movies. Other paintings are inspired by the cold. “…the winter caught us by surprise, we didn’t expect it to be so rainy, gloomy, and depressing.” Saddo explains.“It deeply affected our mood and even our physical state, we often felt trapped inside our dark, moist house, inside slow moving, joint aching bodies.” Every once and a while, a coffin would appear in their illustrations and paintings.
The culmination of these disparate influences facilitate morbid, strange, and fascinating works that have intriguing small details hidden within each composition.
Japanese artist Junko Mizuno’s candy-colored works draw us into a world full of dark and erotic food fetishes. Meant as a metaphor the female sexual appetite and power, Mizuno’s illustrations feature women enjoying eggs, bacon, noodles, and more. Her maximalist style weaves geometric shapes, naked creatures, and luscious patterns into each composition. Coupled with the strong presence of a female character, it results in artwork that’s simultaneously grotesque, cute, playful, and alluring.
Mizuno’s inspiration comes from a range of historical and cultural influences, as well as traditions found in both Eastern and Western worlds. Fairy tales and the works of Aubrey Beardsley and Eric Stanton are also visible. Narwhal Contemporary writes about her paintings, stating, “One reoccurring image is that of the iconic multi-armed goddess cloaked in symbols of life and wisdom, surrounded by fleets of devoted minions and enveloped in flames that will never consume her.” They relish in their unapologetic gluttony.
Mizuno currently has work in a solo exhibition titled Ambrosial Affair at the Narwhal Contemporary in Toronto. This is the second in a three-part exhibition series titled Junko Mizuno’s Food Obsession. It’s on view until March 15 of this year.