Mexican artist Alejandrina Herrera’s illustrations capture quirky moments in the life of people and animals. The minimal approach to different life situations using a mix of watercolor, drawings, and mixed media, is quite fun. Also, the soft palette combined with the dark, intricate details of the drawings are spot on.
Robin F Williams is a painter based in Brooklyn, NY. Her figurative paintings explore pervasive American narratives about childhood, identity and gender. Her figurative work explores closely held American mythologies about gender, privilege, and the American Dream. She uses the fictional nature of the painted image to examine the fictions we tell each other as a culture.
Rachel Kneebone’s intricate works address and question the human condition: renewal, transformation, life cycles and the experience of inhabiting the body. Kneebone’s sculptures operate in a near-subliminal space, oscillating and blurring the boundaries between the conscious and the subconscious, the real and the imagined, everything and nothing.
Working in porcelain, the material properties of her work further heighten and convey an awareness of opposing states, appearing to be not only heavy, solid and strong but also light, fragmentary and soft. This fluid movement between states is reflective of the wide range of art historical and literary sources that inform the artist’s practice.
Lee Yun Hee creates narrative ceramic pieces inspired by literature and story telling. She uses both Western and Eastern influences, creating a style of her own that is striking, unique and undoubtably contemporary. Her work is fragile and flawless, almost creating an aura of effortlessness. She uses her work to reflect upon stories of everyday people; their struggles, fears, hopes, and anxieties.
Hee’s work is mystical and fantastic. Though balancing modern, classic, Eastern, and Western styles, she has creating an epic body of art that is honest, profound, and truly unique. Her work acts as windows into her own version of a fairy tale; she is able to re-create morality stories within her own framework.
Brooklyn based Amy Cutler draws from the media, popular culture, fairytales, and her own experiences to convey the complexities of womanhood. At once autobiographical and universal, Cutler’s works are sweet and dark—delicately rendered, whimsical parables illustrating the deleterious effects of the unrealistic expectations that cultures impose on women.
She received her BFA degree from The Cooper Union School of Art, New York, New York, in 1997. Since her graduation she has rapidly risen to critical acclaim, and her work has been featured in major surveys of contemporary art, importantly the 2004 Whitney Biennial.
The practice of Los Angeles based artist Jim Shaw spans a wide range of both artistic media and visual imagery. Since the 1970s, Shaw has mined the detritus of American culture, finding inspiration for his artworks in comic books, pulp novels, rock albums, protest posters, thrift store paintings and advertisements.
Providing a blend of the personal, the commonplace and the uncanny, Shaw’s works frequently place in dialogue images of friends, family members, world events, pop culture and alternate realities. Often unfolding in long-term, narrative cycles, the works contains systems of cross-references and repetitions, which rework similar symbols and motifs, allowing a story-like thread to be perceived.
Australian artist Anna di Mezza creates photorealistic paintings based on found vintage photos removed from their original context. Combined to unexpected landscapes, she describes the result as bizarre visual narratives. Her body of work is influenced by found vintage photos, and films, superimposing images on unrelated and unexpected backgrounds to create a visual narrative.
Her paintings are of a mostly monochromatic palette with occasional pops of color. They invite the viewer to make up the plot in their own mind as if the images were taken from a surreal film frame. The inspiration for the concept of her work is the beauty and culture of the 1940’s, 50’s and 60’s, the artists Magritte and Giorgio De Chirico as well as the film makers Hitchcock, Kubrick and David Lynch.
Lars Elling‘s paintings are layered narratives told in a fragmented visual language that incorporate allusions to film and photography, sometimes also invoking nostalgia with references to private photo albums.
In Elling’s large canvases, human bodies rarely take entirely conventional forms. Rather, their faces and limbs melt into nonfigurative elements–atmosphere, blurred color, scrubbed-out regions of neutral tint–gesturing toward a broader horizon, nodding at persona and narrative while ultimately frustrating any drive toward coherence or story.
Los Angeles-based artist Greg Ito’s paintings are crisply rendered, each with several symbolic images: a pair of hands; a burning candle; an hourglass; a distant view of a tropical isle; and a burning pleasure boat, airplane or house. His work suggests an open-ended narrative, part fantasy and part nightmare, existing somewhere in the twilight zone. Plucked from a widely distributed and universally ‘agreed’ upon language, the messy chaos of intimacy is compressed into a coherent and singular narrative.
The focus of Andrea Joyce Heimer‘s work is narrative painting. Much of the work speaks from her status as an adult adoptee whose records are sealed, meaning she have no access to her own biographical, birth, and heritage information. The narratives represent different perspectives of her experience as an adoptee: first-person autobiographical, the outsider-looking-in neighborhood observer, the archetypal orphan (the charming tramp). Self-authored mythologies of her own origins as well as mythologies of her home state, Montana, are interwoven with these themes.
The figurative elements focus on the interactions between human beings in moments of disconnection or detachment. Emotional themes of loneliness, anger, and longing are performed in symbol-laden environments including houses, yards, forests, and bodies of water. The distinctive flatness with which the scenes are rendered recall the flattened perspective of medieval art and speak to the “flattened” experience of the adoptee, whose lack of background knowledge represents a deficiency of depth to one’s selfhood.