Some colorful paintings for you from Los Angeles-based artist Matt Lifson.
Some colorful paintings for you from Los Angeles-based artist Matt Lifson.
” I grew up in suburban Long Island, the bedtime stories of my mother’s childhood in Nanjing during the Japanese occupation juxtaposed with the sounds of Lost in Space on our family’s television set in the background. My teenage years followed with the event of my father’s return to China, where he reunited with his family and trained PhD students in Beijing at the end of the Cultural Revolution, colliding with the accidental death of my first boyfriend. The realization of the family purges and suicides was compounded by the later revision of history and ironic rise of some of those relatives to the Hall of Revolutionary Heroes. I eventually pursued my version of my father’s path, studying, working and living in Northern China, and discovering more than I intended to about the countryside and superstition. Naturally personal experiences and family history play a major role in the vantage point of an artist. Over time it melds into the language of the artwork and the work becomes cyclical. Paper was a starting point and primary medium due to its accessibility, ephemeral qualities, affordability, and its associations with ritual, folk culture, and ordinary life. But my interests have been to extend the field of drawing and works on paper into the realm of installation, sculpture, and film. In my studio, there has been an ongoing dialogue with other materials, an abstract narrative, and both a visceral and literary approach throughout my twenty years of working as an artist. The edges and boundaries of sanity, nuances in the body, a sense of longing, and shame are essential elements in the work. I have deliberately left a level of ambiguity in the work, the question as to whom is eating whom remains. The vehicle of the transformed, masked, or monstrous figure allows for an outpouring of expression of the other, stranger, outsider.” – Mary Ting
Dorian Monsalve‘s artwork consists of scratching away layers of colored ink that I previously apply on a white claybord or scratchboard (a special board coated with a thin layer of white China clay or Kaolin). By using sharp knives, a fiber glass brush, steel wool, and other tools I create highly detailed images. Depending on the pressure exerted on the tool used, it determines the amount of light or color that is revealed, creating highlights, shadows, and excellent contrast.
“Motherland,” Annie Owens latest body of work is inspired by the nagging desire to connect with her roots and the various encounters along the way. Here represented, are pictorial encounters with a great aunt’s hair exaggerated by the passing of time, the daily sarcastic mocking of crows, a wary seamstress or the excavations into humid southern origins. An affinity for old creaky houses stems from an early admiration of the stylings of Edward Gorey, Charles Addams and early Tim Burton animations. The nurturing mother is symbolized by the figure of a house, a thread which runs rampant in much of Annie’s work where the house is often shown as the iconic figure and not as background and often depicted floating through the air, ragged roots trailing behind. This is evident in the series “Dear Dario,” a tribute to Dario Argento’s film trilogy which loosely represents the Three Mothers otherwise known as the three graces or three evil witches: “Mother of Tears”, “Mother of Sighs” and “Mother of Shadows”.
” They can serve to remind people to live in the moment, in that moment some time before some people know that it’s meat, they can enjoy the beauty and the texture and be overwhelmed. They can have visual pleasure and they can be seduced before their mind steps in and says uh uh.” – Victoria Reynolds
Paola Pivi (b. 1979, Milan, Italy) lives and works in Anchorage, Alaska. Her work has been exhibited widely across Europe, the Middle East, Asia, Australia, and the United States. Solo exhibitions have been presented by Sculpture International Rotterdam (2010); Tate Modern, London (2009); Kunsthalle Basel (2007); Fondazione Nicola Trussardi, Milan (2006); MACRO Museo d’Arte Contemporanea, Rome (2003); and Castello di Rivoli Museo D’Arte Contemporanea, Turin (1999), among others. Pivi received the Golden Lion Award at the 1999 Venice Biennale. She is represented by Galerie Perrotin and Massimo De Carlo. Paola Pivi’s installations, sculpture, performances, and photographs create astonishing and enigmatic associations and visual relationships that expand our understanding of the experience of contemporary art. Bringing together surprising references from our everyday world, she has orchestrated such unexpected scenarios as a gallery petting zoo, a transport truck flipped on the side of a road, 100 Chinese people gathered in a gallery, and a leopard traversing a gallery filled with cups of cappuccino. Likened to an “experiential playground”, her work ultimately subverts expectation with the unanticipated. Pivi’s artistic practice challenges our mode of engagement by presenting the inconceivable as real.
Amandine Urruty was born in 1982, she lives and works in Toulouse – France – on her bed, with a suit case full of pens always nearby. After studying at University for a few years and a brief career in underground music, Amandine Urruty spreads her repertoire of beasts and her gallery of weird characters on all kind of mediums. As she masterizes techinques of traditional drawing, close to engraving, Amandine Urruty offers us a cheerful gallery of deviant portraits, associating grotesque outfits with baroque decorum which miraculously reconcile lovers of alchemistic symbolism to young ladies with too much make up. Indeed, Amandine Urruty builds her images like we would wander in the alleys of a Sunday fee market, borrowing to the mass of objects and to secondhand toys their fundamental ambivalence, being wicked and peaceful, decorative and saturated at the same time.
Max Streicher is a sculptor and installation artist from Toronto. Since 1991 he has worked extensively with kinetic inflatable forms. He has exhibited his work across Canada in numerous public galleries and artist-run centres. He has completed several site-related projects, most recently in Venice, Siena, Stockholm and Erfurt, Germany. He was a founding member of the Nethermind collective of artists which organized four large exhibitions in alternative spaces in Toronto between 1991 and 1995.
Astrid Preston was born in Stockholm, Sweden. She received a B.A. in English Literature from UCLA in 1967. Her work has been exhibited in galleries and museums throughout the United States and Asia, including solo shows at the Laguna Art Museum, Saginaw Art Museum, Wichita Falls Museum, Ella Sharp Museum and Arts College International. She has had articles and reviews of her work published in the Los Angeles Times, Art in America and ArtForum. Preston received an NEA Fellowship Grant in Painting in 1987 and an artist residency from Lux Art Institute in 2008. Her work is in many public and private collections, including the Orange County Museum of Art, Long Beach Museum of Art, UCLA Hammer Museum, McNay Art Museum, Oakland Museum and Nevada Museum of Art. She lives and works in Santa Monica, California, where she is represented by the Craig Krull Gallery.
Check out Thomas Mailaender’s Chicken Museum and other work. ‘Thomas Mailaender is a French multimedia artist based in Paris and Marseille. Documentation marks the starting point for his work. Using a slightly scientific way of working, he registers insignificant, incidentatlly grotesque moments that possess an abrupt and unexepted monumentatlity. A famous, recently deceased French critic once compared his work to Bernd and Hilla Becher (while under the influence of Pastis, a southern french local liquor) In the past, his work mainly focused on playing with the concept of typology. Mailaender’s recent work has involved sculpture and installation.’