DAZZLING CANVASES BY NICOLA VERLATO

by Ariadna Zierold

nicola verlato, painting, italy, verona, los angeles, pagan, contemporary, classic, dynamic, unsettling, dazzling, epic, upper playground

Los Angeles based Nicola Verlato was born in Verona, Italy. He started to paint when he was 7, and to sell his paintings when he was 9. His artistic education has been quite unorthodox. He considers himself almost self thought. However, from 9 to 14 he spent every summer at the studio of a monk-painter in the monastery nearby his village in northeast Italy.

nicola verlato, painting, italy, verona, los angeles, pagan, contemporary, classic, dynamic, unsettling, dazzling, epic, upper playground

Verlato’s paintings fantasize the many ways that pagan themes and elements might survive and reappear in contemporary society. Dynamic, unsettling and skillfully executed, his canvases dazzle and bewilder.

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STRANGE AND UNSETTLING PAINTINGS BY DUSTY RAY

by Ariadna Zierold

dusty ray, painting, gouache, nature, strange, unsettling, bizarre, surreal, animals, wildlife, colorado, watercolor, mutants, upper playground

Dusty Ray is a Colorado native who has wandered through life reading, writing, drawing, and playing music. He says he soaks up anything weird, strange, or unsettling that he comes across.

dusty ray, painting, gouache, nature, strange, unsettling, bizarre, surreal, animals, wildlife, colorado, watercolor, mutants, upper playground

A painting contractor by day and a self-proclaimed artist by night, Dusty’s life is paint. Having earned his degree in English Literature from Colorado State University, he says his days as a writer bleed into the small narrative he creates with paint. Dusty’s subject matter mainly consists of the animal wildlife found in his beautiful home of Fort Collins, Colorado.

dusty ray, painting, gouache, nature, strange, unsettling, bizarre, surreal, animals, wildlife, colorado, watercolor, mutants, upper playground
Dusty works mostly in gouache, watercolor, and Micron pen. He says, “The strange mutants I paint come from my perception of the animals around me and the way my mind interprets their sacred, extra-sensory position in the natural world”.

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UNSETTLING HUMOR BY BEN SMITH

by Ariadna Zierold

ben smith, sydney, australia, painting, paintings, unsettling, humor, divergence, soubt, solace, allegory, upper playground

Sydney, Australia based artist Ben Smith’s paintings are an attempt to combine the beautiful and the unsettling, the humorous and the sincere, the ba­­­­nal and the uncanny in order to reflect his experience of life. Recurring themes in his work are doubt, divergence within a personality and the search for comfort and solace. These themes are explored through multi-layered allegory, using various expressive possibilities of paint.

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Pynchon’s “Gravity’s Rainbow” compared to Radiohead’s “Amnesiac”: A short essay

Posted from The Citrus Report

Farrar Strous & Giroux, publisher of books, has a blog called “Works in Progress” where our esteemed contributor, Jason Jaworski, found this very interesting essay comparing Gravity’s Rainbow by Thomas Pynchon and Amnesiac by Radiohead. This is equivalent to heaven for The Citrus Report.

Having read Pynchon’s 1973 masterwork once, and having listened to Radiohead’s sometimes forgotten masterpiece about 400,000 times, we have a little more background on the latter. But it got us thinking, not only because Radiohead’s W.A.S.T.E online shop is a borrowed title from Pynchon’s Crying of Lot 49, there is this unsettling yet perfect rhythm to both Rainbow and Amnesiac. Sort of rewrites of history that seems familiar but eerily unfamiliar at the same time, almost making you wonder if you lived in the past that these albums speak and what you must have missed in the process.

Here is a nice excerpt. The whole piece was written by Westin Glass, drummer of The Thermals…

Amnesiac makes a perfect soundtrack, musically and thematically, for the eerie green-lit global theater of Gravity’s Rainbow. With vocals like ghostly radio transmissions, unsettling mechanical rhythms that abruptly start and stop, strange artificial strings and pianos, and a general sense of over-sanitized postmodern disconnection (“nothing to fear, nothing to doubt”), the record invokes a melancholy alienation, a mechanization of humanity—the trademark which Radiohead has come to own.

The essay is a bit longer than this excerpt, so read it here.

Posted By The Citrus Report