'Distillation' was painted partly in Ripolin household enamel paint and partly in artist's oil colour. Ayres applied the paint with rags and brushes; it was also poured from the can and squirted from the tube. Influenced by photographs of Jackson Pollock working on his drip paintings, Ayres worked on this painting while it was flat on the floor. During its execution, she kept the surface fluid with turps so that she could manipulate the paint rapidly and spontaneously. Her principal concerns at this time were pictorial space, materials and colour, and the balancing of different elements 'so that nothing is more important than anything else. One was into the idea of no composition...'
A Good Excuse To Get Close To Each Other, 47”x48.50”, Flashe and Oil on Canvas 2018
Our First Date, 48”x50”, Flashe and Oil on Canvas 2018
Let Me See Your Face, 48”x 46”, Oil on Linen 2018
5:30 PM, 30”x 28”, Oil on Linen 2018
Heart-throbs, 14”x12”, Flashe and Oil Canvas 2018
Just Walking Not Talking, 23”x 21”, Flashe and Oil on Canvas 2018
Doing Our Favorites, 30”x28”, Oil on Linen 2018
My work is based on daily observations that I record first in diary form and then translate into large, semi-figurative oil paintings on canvas. Mundane events and everyday moments are depicted with large abstracted planes of color and bold, layered marks that evoke the subjectivity of my inner life. These instances and memories are cropped and arranged to focus on specific reflections that have been strongly etched into my consciousness. These moments are recorded and relived through painting, the result of which are works that reflect my personal history, and act as intimate journals and meditations on self-discovery.
Patrick Caulfield’s paintings explore alternative ways of picturing the world. After Lunch was one of his earliest works to combine different styles of representation. In this case, what appears to be a photomural of the Château de Chillon hanging in a restaurant is depicted with high-focus realism, contrasting with the cartoon-like black-outlined imagery and fields of saturated colour of its surroundings. Caulfield deliberately makes the relationship between these varying representational methods uneasy and ambiguous, so that the picture appears more real than the everyday world around it.
Esta obra é bem representativa dessa evolução e do interesse que a artista demonstra pela representação da sombra de pessoas e objetos. "In the café", titulo inglês desta obra, mostra-nos o uso de materiais inovadores, como as placas de plexiglas onde se destacam os contornos de duas personagens, uma masculina, absorta na leitura e outra feminina que a interpela. Outras silhuetas, um gato, um pilar, uma garrafa, as costas de uma cadeira, elementos do quotidiano debruados com precisão por uma linha vermelha, completam a cenografia deste teatro de sombras.
This series of etchings showing intimate scenes between men was inspired by the writings of Greek Egyptian poet Constantin Cavafy (1863-1933). Since his days at the Royal College of Art, Hockney had admired Cavafy's vivid, unapologetic evocations of homosexual desire. Hockney printed the portfolio in London with Maurice Payne.
Barkley L. Hendricks - Family Jules: NNN (No Naked Niggahs) 1974
Barkley L. Hendricks (April 16, 1945 – April 18, 2017) was a contemporary American painter who made pioneering contributions to black portraiture and conceptualism. While he worked in a variety of media and genres throughout his career (from photography to landscape painting), Hendricks' best known work took the form of life-sized painted oil portraits. In these portraits, he attempted to imbue a proud, dignified presence upon his subjects. He frequently painted black Americans against monochrome interpretations of urban northeastern American backdrops. Hendricks' work is unique for its marriage of American realism and post-modernism. Although Hendricks did not pose his subjects as celebrities, victims, or protesters, the subjects depicted in his works were often the voices of the under-represented blacks of the 1960s and 1970s. Hendricks even stood alongside his subjects and featured himself in works, like in Brilliantly Endowed (Self portrait), 1977 where he painted himself nude in response to an art critic's comments on his show.
Derek Fordjour’s images draw upon a variety of sources, including sporting imagery, board and card games, carnival motifs, and the circus to explore ideas of vulnerability. He uses the economic, political and psychosocial implications of games to discuss the power structure that exists around rewards and sanctions, merit and punishment, for both the player within the game and as an allegory for the broader human experience. Team dynamics that evoke the tension of an individual situated within a collective effort, convey the seductive sense of the risks and rewards that are inherent in the drama of both games and life.
In his meticulously-built and glamorously-elaborated universe, Pittsburgh-based artist Devan Shimoyama challenges objectification of the Black male body as inherently sexual and as a political target.
“The Black Series: Night Swims” (2017-18) is a project which continues my journey to dive into the dark waters of the human psyche. The characters depicted in the paintings reflect a state of feelings including isolation, solitude, uncertainty and fear. The reflections dancing off of the dark waters surface are a symbolic description of these hidden emotions. They mirror the feelings of the characters as if they were like nocturnal animals that are only comfortable to feed and hunt in the dark.
Even as an inexperienced young artist, Rembrandt did not shy away from experimenting. Here the light glances along his right cheek, while the rest of his face is veiled in shadow. It takes a while to realize that the artist is gazing intently out at us. Using the butt end of his brush, Rembrandt made scratches in the still wet paint to accentuate the curls of his tousled hair.
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