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“In the Loving Care of Animal Spirits” (2022), oil and acrylic on linen, 200 x 300 centimeters. All images © Connor Addison, shared with permission
Cubist Figures Wade into the Shadowy Depths of Connor Addison’s Allegories
September 6, 2024
Art
Grace Ebert
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With light inevitably comes darkness, a dualism Barcelona-based artist Connor Addison (previously) finds endlessly intriguing. “We so often forget to embrace the shadow as it’s presumed unloveable or is invisible,” he says.
Addison pulls at what he finds “in the space between our joy, passion, conscious thought and our fear…what lies in the shadows of our mind.” He often begins a painting with an inquiry or thought that turns into an allegory. “Brothers II,” for example, came from the following questions: “What is a sibling relationship? How do play and manipulation function between siblings?”
“Brothers II” (2024), 260 x 161 centimeters
“Visualisation can be so spontaneous,” he adds. “The whole painting just emerges while brushing my teeth for example.”
Working in muted palettes of earth tones, Addison renders cubist figures with pointed flesh and geometric limbs. Stripping away clothing and distinctive facial features appeals to universal feelings and emotions, like unconditional love, anguish, and curiosity. He adds:
I like the idea that someone 2,000 years in the future or past would still find a work meaningful and intelligible, perhaps even on an alien planet! Allegory is a powerful thing. Its popularity died as religion fell out of vogue, and we became more literate, but I love a story captured in image. It can say so much more than the word.
Addison is preparing for his next solo show with Aktion Art in 2026. Follow his work on Instagram.
“How Long Must This Silence Echo” (2021), oil on linen, 140 x 89 centimeters
“Mother, Mother” (2021), oil on linen, 150 x 150 centimeters
“The Conversation” (2023), oil on Linen, 260 x 183 centimeters
“Becoming Myself Without Any End” (2024), 263 x 142 centimeters
“Something From Nothing” (2023), oil and watercolor on linen, 400 x 200 centimeters
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Grace Ebert“Cleo” (2020), 8.2 x 11.6 inches. All images © Lola Dupré, shared with permission
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#surrealDo stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!
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Grace EbertAll images © Mai Ta, shared with permission
Saigon-based artist Mai Ta veils the subjects of her nuanced paintings with leaves, long locks of hair, splayed hands, and dim lighting. Utilizing muted tones and saturation, she works primarily in gouache to render lone women in domestic settings, creating introspective scenes that question what’s visible. “Obscurity in my work represents my own inability to be confident about who I am,” the artist tells Colossal. “It’s easier to hide behind my hair (shadows, plants, anything) than to honestly express how I really feel.”
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#paintingDo stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!
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