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    Sergiu Ciochinǎ’s ‘Blue Series’ Explores Personal Memories, Dreams, and Moods

    “Self-Portrait with a Swan.” All images courtesy of the artist, shared with permission

    Sergiu Ciochinǎ’s ‘Blue Series’ Explores Personal Memories, Dreams, and Moods

    September 10, 2025

    Art

    Kate Mothes

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    Cradling tiny homes, seated amid flowers, or asleep and dreaming in a garden, the figures in Sergiu Ciochinǎ’s paintings rest and interact in moments of poignant solitude and reverie. The artist’s Blue Series is a visual collection of his own memories, reflections, and moods, which he elaborates into atmospheric and sometimes fantastical canvases.

    “For me, blue is the color of gentle melancholy, profound calm, and also a hidden hope,” Ciochinǎ says. Titles like “Don’t Eclipse Me” and “You Are Your Own Home” tap into our deep-seated desire for connection and a sense of belonging. They also hint at the nature of individuality within the context of our relationships with others, navigated in a series of dreamy scenes.

    “You Are Your Own Home”

    Ciochinǎ also creates glowing landscapes that capture building facades at sunrise or sun-dappled streets of historic European towns. Time and light play a significant role in his portrayals of anonymous figures, too, illuminating their skin with glowing details or situating them in the shadow of floral arrangements or verdant, dusky gardens.

    The figures’ positions and blue tone nod slightly to Pablo Picasso’s Blue Period around 1901 to 1904, when the artist’s earlier, more realistic depictions of people and domestic spaces were largely rendered in blue and blue-green tones to underscore themes of despair and turmoil. For Ciochinǎ, dreams and emotions center in his mystical compositions.

    “I wanted each canvas to convey a kind of breath, a calm vibration, almost musical,” the artist says. “Blue, for me, becomes a meeting space between reality and dream, between memory and the present—a bridge that invites the viewer to pause and contemplate.”

    Ciochinǎ is currently preparing for a solo exhibition in Paris next year, which will include work expanding on the Blue Series. See more on his website, and follow updates on Instagram.

    “Morning”

    “Nowhere”

    “Don’t Eclipse Me”

    “Silent Garden”

    “You Will Bloom Without Me”

    “Pick a Flower, or Even Me”

    “When the Flowers Weep, We Dream—So Beautiful, So Unaware”

    “Nights of June”

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    Maud Madsen’s Oil Paintings Explore Childhood Memories, Daydreams, and Nesting

    “Snow Fort” (2025), oil on linen, 78 x 90 inches. Photos by JSP Art Photography. All images courtesy of the artist and Half Gallery, shared with permission

    Maud Madsen’s Oil Paintings Explore Childhood Memories, Daydreams, and Nesting

    September 8, 2025

    Art

    Kate Mothes

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    Brooklyn-based artist Maud Madsen delves into what it means to find comfort, inspiration, and security in our domestic spaces. Her current solo exhibition, Dweller at Half Gallery, taps into the vast realm of memory as she depicts herself building structures in the snow or pillow forts from couch cushions—activities we often associate with kids’ unbridled creativity and ingenuity. They are also shelters.

    Evocative of children’s book author Chris Van Allsburg’s dramatic and mysterious illustrations in acclaimed titles like Jumanji, Polar Express, and The Mysteries of Harris Burdick, Madsen often centers the living room or bedroom—places that define relaxation and dreaming—as places where voyages of the imagination take place.

    “Twin Beds (Blanket Fort)” (2025), oil on linen, 78 x 110 inches

    For Madsen, a similar approach shapes her renditions of childhood activities that highlight nostalgic and engrossing activities like building blanket forts or playing with a 1980s-era Fisher Price farm set. Deep shadows, enigmatic settings, and uncanny situations converge in the artist’s alluring and mysterious oil paintings.

    “Because all of the artist’s compositions deal with childhood memories, Maud is also quite literally dwelling on the past,” the gallery says. “The double meaning of her show title is a kind of trick mirror, or maybe force-multiplier, concentrating our attention on the spaces (many self-created) that her figures occupy.”

    Lit perhaps by a distant porch light or the moon shining in through a window, the artist’s recent paintings are set at night, suggesting these moments may be dreams or even the result of insomnia. Nighttime can be seen as symbolic of both an ending and a transition into something new, like that of adolescence to adulthood. Madsen’s compositions also examine the notion of “nesting,” in which we carefully organize and curate our domestic spaces to define our tastes and needs in a way that feels comfortable, autonomous, and safe.

    Dweller continues through October 2 in New York City. See more on the artist’s website and Instagram.

    “Den” (2025), oil on linen, 30 x 24 inches

    “Canopy” (2025), oil on linen, 30 x 24 inches

    “Lights Out” (2025), oil on linen, 60 x 48 inches

    “Night Shift” (2025), oil on linen, 60 x 48 inches

    “Heavy Snow” (2025), oil on linen, 60 x 48 inches

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    Mystery Abounds in Angela Burson’s Engimatic Paintings

    “Disconnected” (2025), acrylic on panel, 9 x 12 inches. All images courtesy of Hashimoto Contemporary, shared with permission

    Mystery Abounds in Angela Burson’s Engimatic Paintings

    September 5, 2025

    Art

    Grace Ebert

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    What do the objects we surround ourselves with say about who we are? For Angela Burson, the shirt we pluck from the closet in the morning and the drink we sip with dinner are especially engaging insights into personal and familial identities.

    The artist, who is based in Savannah, often begins with old photographs and re-interprets vintage fashions, tile patterns, and household items in acrylic. She tends to skew proportions and perspectives, achieving a surreal style intensified by her signature crops and headless figures. A vivid, old-fashioned palette of yellow, baby blue, and pale, dusty rose characterizes the mysterious scenes, which peer into intimate moments rife with intrigue.

    “Western Martini” (2025), acrylic on panel, 12 x 16 inches

    In “Taking Notes,” for example, we see two people sitting at a table, the suited figure scribbling on a pad of paper while another grabs for an olive martini. We’re left unsure of whether these notes reflect an investigation into an illicit event or chronicle a more legitimate (and seemingly less likely) cause. There’s also the nefarious cord-cutter in “Disconnected,” a piece in which a black rotary phone is sure to become an object of inquiry.

    Of course, not all of Burson’s paintings appear to catch a bad actor. Her characteristic crops also zoom in on a delicate pair of sheer, polka-dotted socks or slender hands grasping a cocktail glass. The artist’s most recent body of work, Analog Conditions, depicts “artificially created situations (that) mimic real-world circumstances.”

    Recurring motifs like suitcases and beloved pets allude to themes of liberation and companionship, although Burson continues to leave us puzzled: Why, for example, is there an open pill box next to an unattended pup? And what spurred the adoption of an adorable calico kitten? While ambiguous and inconclusive, Burson’s paintings prompt us, as a statement says, “to question the existential meaning of it all.”

    Analog Conditions is on view from September 6 to 27 at Hashimoto Contemporary in New York City. Explore more from Burson on her website and Instagram.

    “Taking Notes” (2025), acrylic on linen, 31 1/2 x 40 7/8 x 3/4 inches

    “Olive and Pillbox” (2025), acrylic on linen, 16 x 20 inches

    “Yellow Shoes” (2025), acrylic on panel, 12 3/4 x 9 3/4 inches

    “Vintage Taupe” (2025), acrylic on panel, 9 x 12 inches

    “Yellow Bow” (2025), acrylic on panel, 9 x 12 inches

    “Ozark Magic” (2025), acrylic on panel, 14 x 14 inches

    “Patches” (2025), acrylic on linen, 60 x 40 x 1 1/2 inches

    “Pencil” (2025), acrylic on linen, 40 x 40 x 3/4 inches

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    PITR Highlights Storefronts, Signage, and Graffiti in Ultra-Detailed Portraits of Urban Streets

    All images © Pizza in the Rain, courtesy of Mortal Machine Gallery, New Orleans, shared with permission

    PITR Highlights Storefronts, Signage, and Graffiti in Ultra-Detailed Portraits of Urban Streets

    September 4, 2025

    ArtIllustration

    Kate Mothes

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    Whether portraying a graffiti tag below a retail window or the bond patterns of bricks, the artist known as Pizza in the Rain, or PITR, illuminates city streets and commercial ephemera in striking detail.

    With meticulous attention to geometry and quotidian features, the Chicago-based artist highlights business signage and urban facades in an almost narrative way, with the occasional figure passing through on foot or on a bike. Simultaneously immersive and nostalgic, we’re invited in and at the same time reminded of disappearing vestiges of past eras.

    From storefront to storefront, we can imagine PITR’s compositions are snapshots of one continuous city, even though many of the distinctive locations are in different places around the U.S. Many recent scenes are evocative of New Orleans, with boarded-up shutters, like those often seen in the French Quarter, or historical markers. Circo’s Pastry Shop is a real place in Brooklyn, and The California Clipper is a well-known lounge in Chicago.

    PITR renders everyday details with equal importance, from sprayed markings on the sidewalk, like the kind the gas company might make, to weathered awnings and neon logos. Nothing blurs into the background in his portraits of individual buildings and maximalist city blocks. On one hand, the locations appear realistic, yet on the other, there is a sense of fantasy and surrealism in their precisely drawn, slightly dystopian imperfections.

    If you’re in New Orleans, stop by Mortal Machine Gallery to check out these pieces alongside new works by Max Seckel in Parallel Structures, which opens on September 12. Explore even more on PITR’s Instagram.

    Collaboration with Max Seckel

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    ‘Between the Lines’ Showcases the Subversive Traditions of Art-Making While Incarcerated

    Djan Shun Lin, “Eagle” (ca. 1994, York County Prison, York County, Pennsylvania), paper and paint. All photos by Addison Doty, courtesy of the Museum of International Folk Art, shared with permission

    ‘Between the Lines’ Showcases the Subversive Traditions of Art-Making While Incarcerated

    September 3, 2025

    ArtSocial Issues

    Grace Ebert

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    Artists aren’t strangers to creative constraints. Perhaps they work full-time and have to sneak in just an hour of painting before bed. Or a grant requires that they follow a particular set of guidelines that push their practice in a new direction. Whatever the situation, artists are often uniquely positioned to find innovative, experimental approaches to making.

    For those included in Between the Lines: Prison Art and Advocacy, which was on view this past month at the Museum of International Folk Art, constraints are plentiful. Featuring an eclectic array of works by incarcerated artists, the group exhibition offers a survey of creativity in confinement.

    Artist name redacted, “Envelope (Austin, Texas)” (June 2002, Snyder, Texas), paper envelope, color pencil, pen

    A primary thread in the exhibition—which tends to connect most artworks made during a period of incarceration—is an innovative use of materials. John Paul Granillo, for example, renders blue pen portraits on a pair of canvas prison-issue shoes. Other drawings appear on envelopes sent to the Coalition For Prisoners’ Rights, a nonprofit project that mailed newsletters inside for several decades.

    There are also several paños, a genre utilizing commissary handkerchiefs, pillowcases, or bedsheets that originated with incarcerated Chicanos in the 20th century. The largely self-taught art form is perhaps one of the best-known traditions to emerge from inside carceral facilities and is a subversive mode of expression: often sent to family and loved ones on the outside, these fabric pieces offer both a way to communicate what might otherwise be censored in letters and a financial opportunity for particularly talented artists who might sell the paños for birthday, anniversary, and other gifts.

    While much of the work comes from facilities in the Southwest and Western states, Between the Lines extends its reach to connect carceral systems across the globe. A vibrantly beaded bird with bold text reading Masallah, or may Allah, comes from 1960s Anatolia. Purchased in 2005 in Istanbul, the piece is a “protective amulet and hung from car rearview mirrors or other places,” the museum says.

    As Brian Karl points out in Hyperallergic, the exhibition is less concerned with prison reform and larger questions of abolition than it is with showcasing the necessity of creating in such a dehumanizing environment. The eagle, a motif associated with freedom in the U.S., appears in several works and speaks to the lack of agency and autonomy in such a punishing system. When people are very literally confined with meager, if any, resources for self-expression, creating becomes both a mode of survival and a revolutionary act. As the exhibition’s title suggests, prison art is always bound up with advocacy and requires makers to find defiance in interstitial spaces.

    John Paul Granillo, “Shoes with ink drawing” (2011–2012, Federal Correctional Institution, Ray Brook, New York), blue pen ink, white fabric, rubber

    Michael Guzman, “PA. LA. Casa (To the House)” (1982–1984, New Mexico State Penitentiary, Santa Fe), paper, colored pencil, pen. Work courtesy of Stuart Ashman in honor of the talented inmates at the New Mexico State Penitentiary

    Artist name redacted, “Envelope (buffalo skull and stepped chevron design)” (October 2005,Salinas Valley State Prison, Soledad, California), paper envelope, color pencil, pen

    Artist unrecorded, “Picture Frame” (1980s, New Mexico State Penitentiary, Santa Fe), plastic-coated gum wrappers, photograph

    Artist unrecorded, “Amulet” (1960–1970, Anatolia, Republic of Türkiye), glass beads, cotton string, sequins, stuffing

    J.D., “Te Amo (I Love You)” (2018–2020, Cibola County Correctional Center, Milan, New Mexico), torn cotton bedsheets and ink

    Carlos Cervantes, “Hispanic History in the Southwest” (1996, New Mexico State Penitentiary, Santa Fe), cotton handkerchief, lead pencil, colored pencils, ink pens

    Ray Materson, “Where Are You Now” (1990, Somers, Connecticut), sock thread, silk, fiber

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    Decadent Alfresco Feasts Serve as Reminders of Simple Pleasures in Pedro Pedro’s ‘Picnic’

    All images courtesy of the artist and Fundación La Nave, shared with permission

    Decadent Alfresco Feasts Serve as Reminders of Simple Pleasures in Pedro Pedro’s ‘Picnic’

    September 3, 2025

    ArtFood

    Kate Mothes

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    “I believe a picnic is a utopia,” says Pedro Pedro, whose new solo exhibition at Fundación La Nave Salinas takes its name from the titular activity. In Picnic, the Los Angeles-based artist celebrates togetherness, relaxation, and small daily luxuries as a means of maintaining balance and cheerfulness, even during challenging times.

    Picnic highlights a total of 15 new canvases. “Beneath their exuberant surfaces lies a subtle homage to the 1950s, through the depiction of mid‐century furniture and aesthetic, a lens through which Pedro critiques the relentless pace of 2025,” the gallery says. “In an age defined by nonstop notifications and doom‐scroll headlines, Pedro invites us back to a time when people savored the present moment.”

    Through a tinge of golden age thinking, paired with La Nave’s setting in Ibiza, Spain, where it perches over the Mediterannean, we’re invited to indulge in simpler pleasures like lounging on the beach and sampling from a seemingly endless array of treats.

    Using textile paint on unprimed linen, Pedro begins each work with a digital design, which he then sketches onto the substrate using chalk and fills in with color. The closer one studies a painting, the more motifs appear to replicate, like flawless and nearly identical lilies, dollops of whipped cream, orange slices, or melons.

    Just like his method, the relationship between how we read digital and “natural” imagery blurs. Half-peeled citrus, knives abandoned in pastries, and random garments suggest that whoever is enjoying the picnic has perhaps just run off to take a dip in the sea and will be back any moment.

    Mirroring the artist’s interest in utopia, an ideal and perfect society, every element of his paintings is bright, juicy, and surreally, well, perfect. He draws inspiration from the joyously rotund forms of Colombian artist Fernando Botero and the Wayne Thiebaud’s decadent pies and cakes.

    The show also taps into the ethos of memento mori, which translates from Latin to “remember you will die.” The concept was especially in vogue during the Dutch Golden Age, appearing in still life paintings in the form of motifs like wilting flowers and rotting fruit.

    For Pedro, it’s not about remembering that life ends; it’s about consciously living it to its fullest. Thus, memento vivere, or “remember to live,” serves as a counterpoint to its weightier cousin. “Each lemon slice, half-eaten tart, or toppled wine glass is not a warning about mortality, but a luminous reminder to inhabit the present with curiosity, joy, and delight,” the gallery says.

    Picnic continues through October 31 in Ibiza. Find more on the artist’s website and Instagram.

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    Atmospheric Oil Paintings by Martin Wittfooth Illuminate Nature’s Timeless Cycles

    “Aspect of Summer,” oil on canvas, 36 x 60 inches. All images courtesy of the artist and Corey Helford Gallery, shared with permission

    Atmospheric Oil Paintings by Martin Wittfooth Illuminate Nature’s Timeless Cycles

    August 29, 2025

    ArtNature

    Kate Mothes

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    In large-scale, elaborate oil paintings of powerful, glowing creatures, Martin Wittfooth explores the timeless cycles and forces of nature in a celebration of the sublime. Known for his enigmatic and atmospheric depictions of wild animals in dystopian settings, the artist blends traditional European painting techniques with critical contemporary concerns surrounding the human impact on the environment.

    Wittfooth’s new solo exhibition, Deus Ex Terra at Corey Helford Gallery, features 19 new oil paintings on canvas, linen, or wood panels. Some take the form of tondos 18 to 24 inches in diameter, while others assume vast proportions, like “Duel,” a diptych that spans 12 feet wide. The stallion also appears as a regular embodiment of elemental forces, like in “Aspect of Fire” or “Aspect of Air,” in which silhouettes of powerful horses made of molten rock or clouds of steam rear up into towering positions.

    “Aspect of Earth,” oil on panel, 48 x 36 inches

    The show’s title, Deux Ex Terra, loosely translates to “god out of the earth.” It’s a nod to the ancient Greek and Roman phrase deux ex machina, which describes a dramatic or literary device in which a character or a “god” is introduced into the plot to solve a seemingly insolvable conflict. During a play, the character would be introduced via a crane, hence the “machine.” Wittfooth flips this notion back to nature and the elemental forces of the earth—weather, orbits, the seasons, life, water—to explore cyclical, self-sustaining rhythms.

    “The Hermetic maxim, ‘As above, so below; As within, so without,’ has echoed through centuries of philosophical, mystical, and artistic inquiry,” the gallery says. “In Deus ex Terra, this principle serves as a guiding thread, illuminating the ways nature repeats its patterns across scale and time: in the branching of rivers and the veins of leaves, in the spiral of galaxies and the coiling of shells, in the cyclical turning of seasons and the rhythms of breath and heartbeat.”

    In earlier work, Wittfooth concentrated on the strained relationship between humans and nature, with its effects revealed in the form of piles of plastic or shorn tree trunks. In his current work, he reflects on the instinctive and enduring facets of nature—the “ancient rhythms that prevail despite our human tumult,” the gallery says. “In a time of deep cultural and ecological upheaval, these paintings offer an invitation to acknowledge, to remember, and perhaps to heal.”

    Deus Ex Terra opens tomorrow and continues through October 4 in Los Angeles. Explore more on the artist’s website and Instagram.

    “Aspect of Fire,” oil on panel, 48 x 36 inches

    “Parallelism 5 (Jellyfish 1),” oil on wood, 24 inches diameter

    “Aspect of Spring,” oil on canvas, 56 x 58 inches

    “Duel,” oil on panel, diptych, 36 x 144 inches

    “Aspect of Winter,” oil on canvas, 50 x 57 inches

    “Parallelism 4 (Snail),” oil on wood, 18 inches diameter

    “Aspect of Air,” oil on panel, 48 x 36 inches

    “Aspect of Autumn, “oil on canvas, 46 x 64 inches

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    Brett Allen Johnson Harnesses the Glow of the American Southwest in Dreamy Oil Paintings

    “In the Land of the Sage,” oil, 40 x 40 inches. All images courtesy of the artist and Maxwell Alexander Gallery, shared with permission

    Brett Allen Johnson Harnesses the Glow of the American Southwest in Dreamy Oil Paintings

    August 27, 2025

    Art

    Kate Mothes

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    As though seared into our collective consciousness, some images of the American Southwest seem to fully embody its inhospitable terrain, mercurial weather, and intense, challenging beauty. One of these would most certainly be Edward Curtis’ dramatic 1904 photograph of the sacred Canyon de Chelly (pronounced “deh-shay”) in Arizona, featuring a string of Navajo riders on horseback, silhouetted against towering rock formations behind them.

    Both a record of the Indigenous inhabitants who called this land home for centuries, taken 40 years after the forced march known as the Long Walk, the photo is also a testament to a quickly evolving nation. And the drama of the region’s canyons, ridges, mountains, buttes, and mesas continue to enthrall us today. For Brett Allen Johnson, these timeless, arid landscapes inspire glowing oil paintings that draw upon the legacies of Western painters like Maynard Dixon and Georgia O’Keeffe.

    “Two Worlds,” oil, 50 x 100 inches

    A solo show of Johnson’s paintings, Two Worlds, opens next month at Maxwell Alexander Gallery. Most of the images shown here are included, like the mineralized, colorful outcrops of “Banded Cliffs, Fruita,” based on a historic location in Capitol Reef National Park. The exhibition also includes the show’s titular painting, “Two Worlds,” which shows an anonymous, completely uninhabited canyon rim from the opposite side.

    Johnson’s forms are brushy and somewhat simplified, although not to the extent that they appear cartoonish. He smooths rocky ledges, gives clouds the weight of dense felt, and illuminates apertures in pueblos, mountains, and rainstorms. Through the interplay of light, shadow, and hue, he renders soaring buttes with fleshy folds and highlights unique patterns in nature.

    “Technique, composition, color, and paint handling—they all say something even if we don’t intend them to,” Johnson says. “But the more I can get to the heart of it, the more I can simplify a painting into just the parts I find indispensable—the essence—those fundamentals become just tools in service of a vision.”

    Two Worlds opens on September 6 in Pasadena. Explore more on Johnson’s Instagram.

    “Glass Window,” oil, 30 x 34 inches

    “Banded Cliffs, Fruita,” oil, 20 x 20 inches

    “Chocolate Ripple,” oil, 16 x 40 inches

    “Not Some Other Place,” oil, 44 x 40 inches

    “Cottonwood Stand with Distant Rain,” oil, 18 x 26 inches

    “Long Shadows,” oil, 18 x 30 inches

    “Uinta Veil,” oil, 18 x 30 inches

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