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      Michael McGrath Summons Symbolism and a Folk Art Style in Expressive Paintings

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      “Unearthing Buried Gods.” All images courtesy of Michael McGrath, shared with permission

      Michael McGrath Summons Symbolism and a Folk Art Style in Expressive Paintings

      November 6, 2024

      Art

      Kate Mothes

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      From fanged cats and all-seeing ravens to anthropomorphized botanicals and disembodied faces, Michael McGrath’s uncanny works nod to the symbol-rich, flat compositions of folk art or “naïve” painting. His mixed-media works combine materials like graphite, oil paint and oil stick, ink, and acrylic on a variety of surfaces, including wood, canvas, and burlap.

      Inspired by the expansive scenes of contemporary artists Peter Doig and Mamma Andersson, and self-taught artists Henry Darger (1892-1973) and William Hawkins (1895-1990), McGrath harnessed a narrative approach in his own practice. “I decided to experiment with figures and storytelling in my painting,” he tells Colossal. He also counts Jim Henson among his influences.

      “Threats and competition for tiny vampires” (2023), graphite, colored pencil, and India ink on wood panel, 14 x 11 inches

      Populated with an array of characters, from trees with alarmed expressions to tiny, fairy-like black critters with bulbous wings and long legs, McGrath delves into mysterious, emotional tales with plots as enigmatic as they are supernatural.

      The artist’s interest in painting evolved from an early fascination with design, especially album covers and advertising in magazines like Spin and Thrasher. “I never had the patience to develop classical skills, so I focused on dimensional and collage work for a while, until I eventually decided to invest more time in painting,” he says.

      McGrath’s work will be part of an online group show with MePaintsMe, Slight of Hand, which opens on November 12. In February, he will also have pieces on view in a group show at Court Tree Collective in Brooklyn. Find more on his website and Instagram.

      “Monster control, future systems No. 3,” (2024), acrylic, oil stick, and oil on canvas, 78 x 120 inches

      “Night float, threat window” (2024), oil and oil stick on canvas, 60 x 48 inches

      “Hunting songs” (2024), oil, oil stick, and grease pencil on linen, 30 x 24 inches

      “Muppet moon nightmare choir” (2024), acrylic, acrylic yarn, embroidery thread, painted canvas, and burlap on burlap, 40 x 30 inches

      “Moon float” (2024), acrylic, watercolor crayon, enamel, and oil pastel on canvas, 60 x 48 inches

      “Stories to frighten your children with and dangerous literature” (2023), oil, oil pastel, and acrylic on linen, 30 x 40 inches

      “Cat song, moon riot, No. 2” (2024), oil on canvas, 48 x 36 inches

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    • 138 Shares129 Views

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      Mingle with Maurice Sendak’s ‘Wild Things’ at the Denver Art Museum

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      Installation view of ‘Wild Things.’ All images courtesy of the Denver Art Museum and the Maurice Sendak Foundation, shared with permission

      Mingle with Maurice Sendak’s ‘Wild Things’ at the Denver Art Museum

      October 29, 2024

      ArtIllustration

      Kate Mothes

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      This holiday season, immerse yourself in the dynamic, theatrical world of Maurice Sendak at the Denver Art Museum in Wild Things. Organized in cooperation with the Columbus Art Museum, where a sibling exhibition was presented two years ago, Wild Things celebrates the characters that have accompanied millions during story time since the mid-20th century.

      The author and illustrator of perennial classics like In the Night Kitchen (1970), Outside Over There (1981), and, of course, Where the Wild Things Are (1963), Sendak was born in Brooklyn in 1928 and began illustrating children’s titles in 1947. He was largely self-taught and illustrated hundreds of books throughout his six-decade career.

      ‘The Magic Flute’ (1980), poster, 24 x 17 1/2 inches. © The Maurice Sendak Foundation

      Sendak produced an astounding array of drawings, paintings, mockups, and set designs and costumes for his books, along with their adaptations to stage and screen. He was also an avid collector of other renowned illustrators’ works, and viewers can see pieces from Sendak’s personal collection by the likes of William Blake, Beatrix Potter, Walt Disney, and more.

      Wild Things continues through February 17. Plan your visit on the Denver Art Museum’s website.

      ‘Where the Wild Things Are’ (1963), watercolor, ink, and graphite on paper, 9 3/4 x 11 inches. © TheMaurice Sendak Foundation

      Sketch for ‘The Griffin and the Minor Canon (1963), graphite on tracing paper, 11 13/16 x 8 15/16 inches. © The Maurice Sendak Foundation

      ‘Outside Over There’ (1981), watercolor and graphite on paper, page: 15 x 26 inches; image: 6 1/8 x 93/16 inches. © The Maurice Sendak Foundation

      ‘Pierre’ (1961-2), ink on paper, 4 1/4 x 3 1/2 inches. © The Maurice Sendak Foundation

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    • 138 Shares169 Views

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      Narsiso Martinez Exalts the Individuality of America’s Farmworkers in ‘Joyfully Grown’

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      “Delano Grapes” (2024), ink, charcoal, collage, acrylic, and simple leaf on grape box, 16 x 24 x 5.5 inches. Photos by @ofphotostudio Yubo Dong. All images © Narsiso Martinez, courtesy of the artist and Charlie James Gallery, Los Angeles, shared with permission

      Narsiso Martinez Exalts the Individuality of America’s Farmworkers in ‘Joyfully Grown’

      September 18, 2024

      Art Social Issues

      Kate Mothes

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      “In the Works,” the centerpiece of Narsiso Martinez’s solo exhibition at Charlie James Gallery, spans three walls and is made from dozens of found produce boxes. At the center of the piece and above a doorway is a long table resplendent with apples, kiwi, oranges, and grapes, all crowned by a chandelier.

      Flanking the dinner, farmworkers climb ladders or sit on the ground, sorting the harvest into the very boxes the composition is made from. Back in the center, the faceless attendees at the table enjoy the literal fruit of the workers’ labor.

      “In the Works” (2024), acrylic, gouache, charcoal, collage, and simple leaf on produce boxes, 178 x 305 inches

      In Joyfully Grown, Martinez (previously) continues his exploration of the labor system, relationships, and power imbalances. He taps into his experience emigrating from Oaxaca when he was 20 years old, determined to find a more sustainable livelihood in the U.S.

      Martinez finished high school at 29, then went on to study fine art in college. While he pursued an MFA, he began working seasonally in eastern Washington’s sprawling apple orchards where he became acquainted with other farmworkers and learned their stories.

      The artist was struck by how individuals in America’s agricultural system, whose intense physical labor the entire framework relies on, go unseen by those who depend on freshly stocked produce in the supermarket.

      “Resist” (2024), ink, charcoal, and simple leaf on strawberry box, 20 x 11.5 x 5.5 inches

      Beginning with photographs, Martinez employs visual languages of prestige—drawing specifically on Catholic portraiture’s emphasis on luxurious fabrics and backgrounds of gold leaf—to empower and uplift workers.

      In “Resist,” for example, a young man is portrayed within the frame of a berry box, backed with gold and wearing a graduation gown. The cap encircles his head like a halo, invoking the divine and signaling the glorious potential of education.

      By elevating the humble cardboard box to the status of picture frame and depicting hardworking people in their esteemed individuality, Martinez scrutinizes who and what society values.

      Joyfully Grown continues through October 26 in Los Angeles. Explore more of Martinez’s work on his Instagram.

      “The Planning” (2024), ink, gouache, charcoal, acrylic, and simple leaf on berry box, 15.5 x 20 x 4.25 inches

      Detail of “In the Works”

      Detail of “In the Works”

      “Blue Joy” (2024), ink, charcoal, collage, acrylic, and simple leaf on blueberry box, 16 x 23.5 x 5.5 inches

      “Fresh is Our Favorite” (2024), ink, charcoal, collage, and acrylic on red seedless grape box, 24 x 16.5 x 6 inches

      “Embracing Future” (2024), ink, charcoal, and simple leaf on orange box, 23.5 x 16 x 6 inches

      Collaboration with Ashley Jose-Isip, “On the Grass” (2024), ink, gouache, charcoal, and simple leaf on grape box, 15.75 x 23.75 x 5.5 inches

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    • 88 Shares99 Views

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      Tran Nguyen’s Ethereal Portraits Portray Melancholy Moments

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      All images © Tran Nguyen, shared with permission

      Tran Nguyen’s Ethereal Portraits Portray Melancholy Moments

      September 12, 2024

      Art Illustration

      Jackie Andres

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      In Tran Nguyen’s portraits, spirited subjects coexist with ethereal environments. “I’ve always enjoyed themes revolving around melancholy, the female figure, and species found in nature,” she says.

      Whimsically walking alongside praying mantises, embracing a tiger in a suit, or encircled by swans, each character is presented with delicate detail, down to their flowing tendrils of hair and gossamer garments. This daintiness lends itself to the compelling air of fantasy that characterizes Nguyen’s style.

      After working on large-scale murals for some time, the Georgia-based artist mainly uses acrylic paint and colored pencils. On heavyweight watercolor paper, light washes of acrylic block in initial fields of color and precede layers of paint to create value. Colored pencils execute final details, like refining darker values.

      Though she loves working with traditional materials, Nguyen is also creating a new apparel line. Check out her website and Instagram for updates.

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