Rainbow waterfalls spill from the faces of Brian Donnelly‘s men and women. The Toronto-based painter describesRead More
Paintings by Charleston, South Carolina-based artist Karen Ann Myers, whose works always begin as detailed marker drawingsRead More
Minneapolis based artist Michael Carson captures the fleeting moments of stylish modern day peopleRead More
Born in Bologna, Nunzio Paci developed his artistic finesse viewing the Baroque style of painting promoted in Paci’s home city in the 16th and 17th centuriesRead More
Kari-Lise Alexander is fascinated by the landscape and mythology of her Scandinavian roots. Living and working in Seattle, with its cool and wet winters, also provides Alexander with inspiration, and we often find her subjects bathing in or near water. She portrays mythical swan-maidens in her upcoming solo exhibition at Modern Eden Gallery in San Francisco, “A Lovelorn Theft”. According to the mythology, swan-maidens are magical swans that transform into young girls. The key to their transformation is usually a swan skin, or a garment with swan feathers attached. In the place of skin, Alexander drapes her subjects in delicate, twinkling white veils painted in realistic detail. Those without veils are rendered helpless, susceptible to the advances of their human suitors, while the others will never know what it feels like to be loved. As her title suggests, her subjects are the victims of unrequited love, caught between feelings of melancholy and euphoria. And although they live in a surreal and magical world, theirs is a parallel to the sad reality of heartbreak.
“A Lovelorn Theft” by Kari-Lise Alexander will be on view at Modern Eden Gallery in San Francisco, CA from September 12th through October 3rd.
Tunisian artist Atef Maatallah paints people on grainy, monotone backgrounds to highlight the inner worlds of his characters. Maatallah often paints diptychs, in which one panel features only a single object such as a tea pot or small animal. Purposely separated from the human figures, the objects serve as outer manifestations of the peoples’ fears or desires. For example, an elderly woman with sun-baked sunken cheeks watches with a solemn expression as the feathers of a skinned bird — its’ complexion the same color as the woman’s — float downwards. In another image, a forlorn mother looks down as her two children sleep; one in her arms, the other slouched against her back. In the background, a bare light bulb hangs. The light is out.
Though the majority of Maatallah’s images are plagued with sorrow, he offers moments of hope, particularly in those adorned with royal blue jelly fish and hopping green frogs. It is notable however, that these paintings are exclusive to male subjects, thus revealing the disparity between opportunities and fates for men and women in the artist’s home country. It may be assumed the political statements wrought within the artworks are intentional, as Maatallah is a member of the arts collective “Politics” and has produced works for the public sphere.
Philadelphia based artist Crystal Wagner recently exhibited a colorful new installation at the National Museum of Singapore. “Wanderlust” is a site-specific piece that she created for the museum’s “Masak Masak 2015″ exhibition, a part of their ‘season of the children’ celebrations. Previously covered here on our blog, Wagner’s largescale works are attention grabbing for her choice of curious and unconventional materials including paper, chicken wire, and tablecloths. Measuring a massive 70 feet long, her new piece is made out of pliable materials such as crepe paper and wire, from which she shaped tunnels for children to play in and crawl through. The title of the piece refers to their strong desire to wander and explore, and here, Wagner offers them an enchanting playscape for them to discover. At her website, she shares a simple wish for those who encounter it: “be actively curious about the world you live in”. Take a look at photos of “Wanderlust” below, courtesy of the artist.
Dallas, Texas based artist Michael Reeder paints eclectic portraits that explore ideas about identity. Reeder is fascinated by the various characteristics that define us, and his works mix those elements both stylistically and conceptually. While his main interest is modern identity, the figures he portrays often have a classical quality. He renders their faces as if he were chiseling away at marble, redefined with abstract and exaggerated features with blank eyes (ancient statue eyes were painted or inlaid.) His portraits aren’t meant to be accurate representations. Rather, he considers portraiture to be more like a reinvention of his subjects, which takes place at their simplest form. Reeder relies on visual cues to characterize his subjects. For instance, some images are spliced in half with color or lines to imply the feeling of being torn. Other times, these juxtaposing ideas, palettes, and compositions are a play on dimension and style. Like his creative combinations, our personalities are the result of many facets and experiences that create a whole.