Toronto based Brandon Celi’s (previously featured here) illustrative weapon of choice ranges from acrylic paint, the sharpie, and the classic pencil. Whatever the medium, these themes are identifiable on first glance of Brandon’s work, whether it be a card machine being held by the hand of god, or miscellaneous toothpaste. Each of these works question how we react to these consumable goods but are also easily recognizable, visually digestible pieces of fine art.
Tom French is a British artist whose powerful monochromatic canvases are driven by his efforts to engage with the subconscious, and a rigorous pursuit of truth. French’s paintings are a visual discourse on Dualism, a philosophy that posits that the mind and the brain are not identical, that the mind is the seat of consciousness and the brain the seat of intellect.
His concerns with the duality of the physical and the metaphysical, are reflected in the double images that populate his artwork. Faces, figures and skulls repeat and shadow one-another, there are echoes of Rorschach’s psychometric tests in the mirroring and the monochromatic palette, and intuitive, gestural brushstrokes tap the subconscious.
Hyung Koo Kang is a Korean contemporary painter best known for his hyper realistic portraits of iconic personalities from history. He graduated from the Painting department of Chungang University in Seoul, Korea.
Kang’s portraits of famous people such as Pablo Picasso, Audrey Hepburn are actually works of composite-realism rather than photo-realism. These works are created through the artist’s direct and indirect understanding of the character. Kang’s works exhibited several means of mixed medium with illusionary photo-realism, allowing the audience to interact with the artwork.
Mexican surrealist painter Jose Luis Lopez Galvan’s work and fine art develops into dark surrealism, in a world where Velasquez and Hieronymus Bosch could go into ecstasies in front of a version of Rembrandt’s ‘Anatomy Lesson of Dr Nicolaes Tulp’ with dwarf rabbits.
Animals and humans inhabit the work of Galvan, fighting for their membership to both bestiality and civilization. Some creatures in between are at the limit of lycanthropia and could easily be affiliated to the universe of American horror writers H.P. Lovecraft and William Hodgson. Some pieces even allude to cannibalism, with a bizarre subtle eroticism. Disturbing compositions, poetic metamorphosis and portraits of femmes fatales complete his work and he is not afraid to promote the odd beauty of nightmares and Freudian subconscious.
Belinda Wiltshire was born in Geelong. She is a visual artist working mainly as a figurative oil painter. After studying Costume Design and Clothing Industry, and with no formal art training Wiltshire has been exhibiting in solo and group shows since 2002. She was a finalist in the 2004 Brett Whiteley Travelling Art Scholarship, the 2012, 2016 and 2017 Black Swan Prize For Portraiture, the 2014 Benalla Nude Prize, the 2017 Kennedy Prize, and a semi-finalist in the 2015 and 2017 Doug Moran Prize For Portraiture.
Kohshin Finley’s latest works depict people of color as they attempt to answer the question, “how do I survive in America?” This series is the visual manifestation of a poem Finley wrote called Camouflage for the Modern Man. Camouflage tells the story of a young man who, in the wake of numerous police shootings, casts away his Air Jordans, hoodies, and other markers of vilified black masculinity, in hopes of putting his mind at ease. When his search for peace of mind proves futile, he begins to paint his body titanium white as his last recourse.
Born and raised in the racial and social climate of South Central Los Angeles, Finley taps into his own Black-Mexican heritage and experiences to create each painting. Finley’s friends and family are the subjects of these paintings, captured in vulnerable moments, at their most honest and revealing while having conversations with Finley about navigating the world as people of color.
Toyin Ojih Odutola creates drawings utilizing diverse mediums to emphasize the striated terrain of an image and its formulaic representations. Odutola focuses on the sociopolitical construct of skin color through her multimedia drawings. Her work explores her personal journey of having been born in Nigeria then moving and assimilating into American culture in conservative Alabama.
Seacoast, NH based Michael Dandley crafts vibrant, transformative works out of the ordinary. Dandley’s series highlights the odd and unsettling ways industry reconfigures land and threatens the delicate balance of the ecosystem. Whether about pollution, climate change, or loss of habitat and natural beauty, each of the immaculate paintings illustrates a way modern conveniences today will cost us tomorrow.
Detroit based Jesse Jacobi‘s work focuses on an unnamed culture of people living in a mysterious, heavily-forested world. While Jacobi makes it a point to not be explicit about any concrete narrative happenings, there is a clear framework of visual and thematic motifs involved: reverence for nature, the use of masks and various obscuring garb, cycles of life-death-dream, structures in differing stages of ruin, ritual and witchcraft, the space between visible and invisible environments, and the true nature of man.
The smaller works are supplemental – images of idols perhaps used in every day life for various means of protection or intensification – and are intended to be seen as artifacts one might find within the larger world. The time and place depicted in his paintings is not made clear, but the setting is very far removed from modernity and anything involving current times.