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On Canvas and Shell, Alexis Trice Paints Ethereal Scenes Gleaming with Energy
by Aurelia Butler 22 October 2024, 10:00
“High Spirits II.” All images courtesy of Arch Enemy Arts, shared with permission
On Canvas and Shell, Alexis Trice Paints Ethereal Scenes Gleaming with Energy
October 22, 2024
ArtNature
Grace Ebert
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For Alexis Trice, water is about moving energy and emotion. The native New Yorker (previously) paints gleaming tears that gush from an animal’s eyes or green-tinged seas with roiling waves to “release and recycle.” She adds, “I wanted to make work that could be felt without fully being seen.”
Earthy color palettes and glinting light recur in Trice’s works, along with shaggy brown dogs that “represent the ideal conduit to bridge the gap of shared emotion between wild animals and humans.” One such creature appears in “Hay Fever,” which features the canine surrounded by thick grass with broken strands of pearls in its mouth.
“Deep Sea, Deep Sea, Swallow Me”
Trice frequently returns to these naturally lustrous gems to convey the passage of time, and in her latest exhibition Dust & Brine, mollusks appear as substrates in addition to subject matter. Twenty scallop shells hold ethereal scenes in miniature, whether a diptych of a bisected blue whale or three fish swirling in a lucky trinity.
Atmospheric and ethereal, this body of work ventures further into the surreal. The artist writes about “High Spirits II,” which depicts a pair of taper candles embedded in a pink fish: “Soft flaky scales and iridescence achieved through many glazes, trial, and error. Juicy wet flesh, and flashes of candlelight peering through astigmatism eyes.”
If you’re in Philadelphia, stop by Arch Enemy Arts to see Trice’s work through October 27. Otherwise, find more on her website and Instagram.
“Fortune II”
“My Heart is a Lonesome Hunter”
“Low Tide”
“The Old Dog”
“A Fly”
“Hay Fever”
“The Sun Gets in Your Eyes”
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In ‘Seeking an Exit,’ Gretchen Scherer Escapes to Grand Homes and Galleries of the Past
by Aurelia Butler 17 October 2024, 14:57
“Lanhydrock, Morning Room” (2024), oil and acrylic on panel, 18 x 24 inches. All images courtesy of Gretchen Scherer and Monya Rowe Gallery, shared with permission
In ‘Seeking an Exit,’ Gretchen Scherer Escapes to Grand Homes and Galleries of the Past
October 17, 2024
Art
Kate Mothes
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Many of what are now public museums were once the private homes and collections of the wealthy and titled. From the Palace of Aranjuez—still a royal residence in Spain—to the baroque art and gardens of Isola Bella in Italy, Gretchen Scherer captures stunning salon-style galleries and historical interiors in vibrant, intricately detailed paintings (previously).
In her solo exhibition, Seeking an Exit at Monya Rowe Gallery, Scherer continues to explore art historical destinations around the world. Calling on memory, escapism, and the romance of grand buildings, she transforms ornate halls, drawing rooms, and wunderkammers into inviting, enlivened spaces.
“Trubetskoy Palace, Dining Room, 1914” (2024), oil and acrylic on panel, 24 x 30 inches
Scherer references photographs of museums, sometimes re-imagining historical, black-and-white imagery into colorful compositions, such as the 1914 dining room at Trubetskoy Palace, Moscow.
The works lining the hall comprise the holdings of Sergei Skchukin, a Russian businessman, whose art collection was nationalized after the 1917 Bolshevik uprising. Today, these pieces are distributed among state museums.
Scherer’s paintings welcome us to remarkable places around the globe, many of which we may no longer be able to visit. Through intimate details, like a napkin draped over the edge of a table or a chair pulled out as if someone has just left, the artist draws foremost upon each location’s identity as a lived-in place.
Seeking an Exit opens today and continues through November 23. Find more on the artist’s website and Instagram.
“Palace of Aranjuez, Porcelain Room” (2024), oil and acrylic on panel, 18 x 24 inches
“Palazzo Borromeo, Isola Bella, Berthier Gallery” (2024), oil and acrylic on panel, 18 x 24 inches
“Sir John Soane’s Museum, Drawing Office” (2024), oil and acrylic on panel, 24 x 30 inches
“Sanssouci Palace, Library and Picture Gallery” (2024), oil and acrylic on panel, 18 x 24 inches
“Dom Quartier Cathedral Museum, Art and Wonder Chamber” (2024), oil and acrylic on panel, 14 x 18 inches
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Collaged Portraits by Emma Odumade Draw on the Past to Face the Future
by Aurelia Butler 8 October 2024, 12:31
“Call of Duty (A New Anthem)” (2024), charcoal, acrylic, ink, vintage photos, and black tea on canvas, 101.6 x 101.6 centimeters. All images courtesy of the artist and Unit London, shared with permission
Collaged Portraits by Emma Odumade Draw on the Past to Face the Future
October 8, 2024
ArtPhotography
Kate Mothes
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Growing up in Lagos, Emma Odumade always drew cartoons and created collages on paper. As he continued to make work, his interest grew in highlighting the world around him, especially young people in his community.
Odumade’s vibrant portraits and self-portraits, the latter of which he makes toward the end of every year, reflect a sense of unity, a search for self, love, and anticipation of the future. These particular works arose as “an attempt to have a diary—I never had one,” he says. “I needed to rediscover myself; see myself from an angle—from a third eye. My art became a mirror, through which I was a reflection.”
“Mister Fly” (2024), charcoal, acrylic, vintage photos, ink, graphite, colored pencil, and black tea on canvas, 147.32 x 119.38 centimeters
Portraits serve as records of activities and experiences, documenting the artist’s observations and referencing history and culture to tell personal stories. He combines images with other mediums like charcoal, acrylic, ink, and repurposed earlier sketches, invoking what he calls “stamps of moments”—a collection of memories viewed through the spectrum of past, present, and future.
“I love that I can reference historical events, stolen African artifacts, and my humble beginnings through a photo,” Odumade tells Colossal. He collages the backgrounds of many compositions with numerous black-and-white images dyed with tea to give an antique appearance. “The vintage brown look of the old photos is to remind viewers about [the] past and to give a ‘test of time’ feeling.”
Five new works will be presented by Unit London at 1-54 Contemporary African Art Fair in London, which runs from October 10 to 13. Explore more of Odumade’s practice on Instagram.
“My Favorite Albert’s Theory” (2020-2021), charcoal, acrylic, ink, black tea, and sketch paper on canvas, 163 x 148 centimeters. Additional credit to Lekan Abatan
“Seth; Why Run Away From Light Equals Infin9s” (2021-2022), charcoal, graphite, acrylic, ink, sketches, old photos, and black tea on paper. Additional credit to Ken Nwadiogbu
“A Wave to Remember” (2024), charcoal, acrylic, black tea, and vintage photos on canvas, 146.05 x 119.38 centimeters
“Three Sequences” (2021), charcoal, acrylic, black tea, ink, and old photos on canvas, 124 x 97 centimeters. Additional credit to Eshinlokun Wasiu
“First Motion to Fly (Mr. Professor)” (2024), charcoal, acrylic, ink, vintage photos, feather, and black tea on canvas, 147.32 x 119.38 centimeters
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Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine
by Aurelia Butler 1 October 2024, 18:00
Installation view of ‘La Jaula de Oro’ at Museo de Arte de Zapopan. Photo by Lazarillo. All images courtesy of the artist and Museo de Arte de Zapopan, shared with permission
Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine
October 1, 2024
Art Social Issues
Kate Mothes
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In a pink, glowing Rococo setting, Yvette Mayorga’s first solo exhibition in Mexico dives into nostalgia, teenage dreams, and how sometimes a sugary coating can conceal crucial truths.
For La Jaula de Oro—The Golden Cage—at Museo de Arte de Zapopan, the Chicago-based artist (previously) has created four acrylic-piped paintings on canvas and a series of mixed-media sculptures. These include a 1974 Datsun coated in crochet, plush and plastic toys, acrylic nails, faux fur, rosaries, and other ephemera. Pop singer Selena’s song “Dreaming of You” wafts from the car stereo.
“Bien chiqueada” (2024), acrylic nails, nail charms, toy snake, toy scorpion, clock, scorpion belt, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters
At first glance, Mayorga’s compositions appear like delicate, frosted confections, glittering with nail charms and predominantly made in various shades of pink. But upon closer inspection, reminders of a slightly more unsettling reality begin to emerge, such as scorpions, clocks, or mirrors—nods to our relationship with time, others, and our mortality.
The artist draws on the tradition of vanitas painting, a style popularized during the Dutch Golden Age, often in the form of still lifes brimming with visual cues that power and glory mean nothing when confronted with the inevitability of death.
For Mayorga, the supple forms of piped bows, rosettes, and borders belie important messages centered around border control, immigrant labor, rampant capitalism, and pop culture.
Akin to the way cookies or cakes are created to be literally consumed, the artist toys with the notion of fleetingness. “La princesa (Ride or Die),” for example, captures a sense of ephemerality and impermanence: “here today and gone tomorrow,” says curator Maya Renée Escárcega.
Detail of “Bien chiqueada”
The artist invites viewers into a seemingly carefree, saccharine space evocative of the opulence of the late 18th century—the era of Marie Antoinette and her famous—if mythical—quote: “Let them eat cake.” Considered the “Rococo Queen,” she is associated with luxury and frivolity, and she came to symbolize the excesses of the wealthy during a period when many people couldn’t afford bread, let alone the delicacies of cake.
Mayorga’s primary medium is acrylic applied using a pastry bag. She references women workers—especially women of color—from whom colonial discourse stripped notions of femininity assigned to white women. She expands upon the framework of Rococo to analyze 21st-century issues, simultaneously serving us a reminder of the sacrifices and toil required to produce what capitalist society consumes.
La Jaula de Oro and continues in Zapopan through January 5. Find more on Mayorga’s website and Instagram.
Detail of “Banquete (Banquet)” (2024), hi-temperature ceramics, resin candle holders, bronze figures, and candles, dimensions variable. Photo by Lazarillo
Installation view of La Jaula de Oro
“Capitalist Clown” (2024), collage, acrylic marker, pastel, toy scorpion, and acrylic piping on canvas, 91. 44 x 121.92 centimeters
Detail of “La princesa (Ride or Die)” (2024), crochet, plush toys, plastic toys, acrylic nails, rosaries, faux fur, belt buckles, vinyl stickers, ceramic tchotchkes, clock, toy cell phone, found license plate, trophy, wood, 161 acrylic roses, and acrylic piping on a 1974 Nissan Datsun, 4 x 1.6 meters. Photo by Lazarillo
Detail of “La princesa (Ride or Die).” Photo by Lazarillo
“Made in Mexico (Fecit Mexici)” (2024), mirror, hand mirror, acrylic nails, nail charms, clock, toy scorpion, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters
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Titus Kaphar Paints Memories, Family, and Grief into ‘Exhibiting Forgiveness’
by Aurelia Butler 1 October 2024, 13:33
“I hear you in my head” (2023), oil on canvas, 72 x 84 inches. Photos by Owen Conway. All images © Titus Kaphar, courtesy of Gagosian, shared with permission
Titus Kaphar Paints Memories, Family, and Grief into ‘Exhibiting Forgiveness’
October 1, 2024
Art Film
Kate Mothes
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From a makeshift bike ramp to an uphill struggle with a lawn mower, the scenes in Titus Kaphar’s oil paintings are simultaneously familiar and personal. Drawing on memories, he contemplates the meaning of family, community, loss, grief, and everyday life in working-class America.
These works, shown in a gallery setting for the first time at Gagosian, were made for the artist’s semi-autobiographical, debut film, Exhibiting Forgiveness, which screened at Sundance earlier this year and comprises the centerpiece of the presentation.
“Some things can’t be worked out on canvas” (2023), oil on canvas, 120 x 108 inches
Featuring André Holland (Moonlight and Passing) alongside Andra Day and Aunjanue Ellis-Taylor, the film was written and directed by Kaphar and follows the story of an accomplished painter whose life is upended by an unexpected reunion with his estranged father.
Springing “from the same personal, emotional and psychological well” that provides the source for all of his work, Kaphar portrays neighborhood houses, figures, and personal objects that transport us to both the artist’s childhood and the universal experiences associated with coming of age.
In “So vulnerable,” for example, two of the three figures scaling a fence have been rubbed out, as if time or unknown events have erased all but their ghostly impressions. In “I hear you in my head,” a figure cutting the lawn has been removed from the canvas altogether, leaving only a void.
Exhibiting Forgiveness continues through November 2 at Gagosian Beverly Hills, and the film is slated for release in theaters nationwide on October 18. Find more on the artist’s website.
“La’Ron” (2023), oil on canvas, 91 x 75 1/2 inches
Installation view of Exhibiting Forgiveness
“So vulnerable” (2023), oil on canvas, 120 x 108 inches
“Smoldering embers” (2023), oil on canvas, 72 x 83 inches
Actor Andre Holland in Exhibiting Forgiveness. Image courtesy of Roadside Attractions
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Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings
by Aurelia Butler 25 September 2024, 22:01
Detail of “Brighid” (2024), oil on canvas, 100 x 130 centimeters. All images courtesy of Andrew McIntosh, shared with permission
Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings
September 25, 2024
Art
Grace Ebert
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Nested in rusted caravans or hovering above vast landscapes, small glowing orbs reminiscent of the sun, stars, and otherworldly technologies populate Andrew McIntosh’s latest body of work.
On view with James Freeman Gallery for the British Art Fair, The Calling conjures McIntosh’s interest in mystery and magic. The London-based Scottish artist often evokes the lush, dramatic landscapes of Romantic paintings, which he recasts with a supernatural bent.
“Étaín” (2024), oil on canvas, 170 x 130 centimeters
Pieces like “Étaín” and “Brighid” recall McIntosh’s earlier works that tuck entrancing portals into travel trailers, a symbol of the adventurous spirit. These newer paintings similarly position wide ocean views inside the mobile homes, contrasting the immense scale of the sea with the tiny confines of the caravan.
The Calling also steps back to take a broad look at natural wonders. Expansive landforms like the St. Kilda archipelago in Scotland and Mount Everest are veiled in a hazy wash of oranges and pinks, and the illuminated orbs float along their edges.
These works explore “how the wilderness worldwide, such as the mountain faces of Everest and K2, has the power to act as host for the inexplicable and the mysterious,” McIntosh shares, adding that they “speak to (a) need to engage with something greater, something beyond our physical substance.”
The Calling is on view from September 26 to 29. Find more from McIntosh on his website and Instagram.
“Plate II: Suilven” (2024), oil on canvas, 110 x 130 centimeters
“St Kilda Lights” (2024), oil on board, 42 x 23 centimeters
“Brighid” (2024), oil on canvas, 100 x 130 centimeters
“Everest Lights” (2024), oil on linen, 35 x 40 centimeters
“St Kilda Caves” (2024), oil on linen,53 x 33 centimeters
“Meant to climb” (2024), oil on linen, 50 x 30 centimeters
“Odyssey” (2024), oil on canvas, 100 x 130 centimeters
“K2 Lights” (2024), oil on linen, 35 x 40 centimeters
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David Antonio Cruz Celebrates Queer Love with Joy and Opulence
by Aurelia Butler 24 September 2024, 20:45
“iknowyou’vebeenwonderingwherei’vebeen:adrift,adraft,astare,atilt,asigh,exhale.but,icamebacktoletyouknow,gotathingforyou,andican’letitgo_ the raft.” (2024), oil, acrylic, and ink on wood panel, 72 x 96 x 2 inches. All photos by Bob, courtesy of the artist and Monique Meloche Gallery, shared with permission
David Antonio Cruz Celebrates Queer Love with Joy and Opulence
September 24, 2024
Art
Grace Ebert
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In chosenfamily, David Antonio Cruz celebrates the bonds between people who have decided they will love each other unconditionally, no biological relationship required.
He paints lavish portraits of queer people of color dressed in vibrant, patterned gowns, strings of pearls, sequin tops, and chic, boldly framed glasses. Depicted embracing, lounging, and often piled atop one another in a monumental mass, the figures are at ease and appear to unite as one.
Detail of “icamebackthefollowingnightandwalkedthegoundslookingforyou,wegotturnedawayonthesecondnight,buticamebackagainandagain,andagain_ the mound.” (2024), oil and acrylic on wood panel, 72 x 98 1/2 x 2 inches
Emerging during COVID-induced isolation, Cruz’s chosenfamily series is set at home. Victorian-era sofas cradle the subjects, whose individual bodies dangle over the wooden frames and drape across one another. The most recent additions to the series reflect on what it means to feel at home. Stretching up to eight feet wide, these immense paintings are on view through October 26 in the artist’s solo show come close, like before at Monique Meloche Gallery.
When the artist prepares to make a portrait, he might first host a dinner party or intimate gathering to form bonds between the future sitters and foster a trusting community. What follows is an elaborate photoshoot during which the subjects are encouraged to dramatize.
“The way you pose for me isn’t just sitting, there’s this sense of dripping, of leaning; we’re performing and being extra, and for me that’s the radical part, that’s the joy of being non-conforming and not falling into rules,” he said in an interview.
come close, like before is also a response to the relationship between Spain and Puerto Rico, the latter of which Cruz has ancestral ties. Referencing maritime painting traditions and Théodore Géricault’s precarious scene in “Raft of the Medusa,” in particular, the artist questions the enduring, colonial implications of the ocean and the uncertainties associated with homemaking. Through paintings filled with love and unbreakable bonds, he subverts the seafaring genre by planting his subjects on firm footing, their sights set on a hopeful future.
In addition to Cruz’s show in Chicago, New Yorkers can find the artist’s exhibition when the children come home through February 16, 2025, at Sugar Hill Children’s Museum of Art & Storytelling. Visit Instagram for more.
Detail of “iknowyou’vebeenwonderingwherei’vebeen:adrift,adraft,astare,atilt,asigh,exhale.but,icamebacktoletyouknow,gotathingforyou,andican’letitgo_ the raft.” (2024), oil, acrylic, and ink on wood panel, 72 x 96 x 2 inches
“icamebackthefollowingnightandwalkedthegoundslookingforyou,wegotturnedawayonthesecondnight,buticamebackagainandagain,andagain_ the mound.” (2024), oil and acrylic on wood panel, 72 x 98 1/2 x 2 inches
“isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023), oil and acrylic on wood panel with aluminum backing, 72 x 60 inches
“Icouldn’tcallitbynamebefore,butmaybe it’sbeentheresinceIfirstknew” (2024), oil and latex on wood panel, 36 x 36 x 2 inches
Detail of “Icouldn’tcallitbynamebefore,butmaybe it’sbeentheresinceIfirstknew” (2024), oil and latex on wood panel, 36 x 36 x 2 inches
“ilovedeveryoneofthem” (2022), oil, acrylic, and ink on wood panel, 72 x 60 inches
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Step Into Beguiling Bygone Eras in Jeff Bartels’s ‘Urban Glitch’ Series
by Aurelia Butler 23 September 2024, 13:39
“Urban Glitch 1983,” oil on linen. All images courtesy of the artist, shared with permission
Step Into Beguiling Bygone Eras in Jeff Bartels’s ‘Urban Glitch’ Series
September 23, 2024
Art History
Kate Mothes
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Around the time he turned 50, Jeff Bartels (previously) found himself thinking more and more about memory and nostalgia. “It occurred to me that I could remember certain things from my past exactly, while other memories were mixed up or even wrong,” he tells Colossal. “So I decided to explore that confusion.”
Bartels’s ongoing series Urban Glitch consists of five paintings so far, each focusing on different years from the recent past, ranging from 1979 to 2001. Each painstakingly detailed composition highlights pop culture of the era, from the latest cars and products to pastimes, music, and fashion.
Detail of “Urban Glitch 1983”
The imaginary buildings stack on top of one another and connect via bridges, platforms, and staircases reminiscent of M.C. Escher’s mathematically puzzling architecture.
Locked in time and space, as if the scenes are “glitching,” Bartels’s thriving urban hubs invoke the sights and sounds of bygone eras. People peer into their fridges, walk their dogs, play games at the arcade, and view paintings by Jean-Michel Basquiat or Damien Hirst’s seminal 1991 work of a tiger shark preserved in a tank.
The artist employs 3D modeling software to create references for each painting rather than photographic sources, so “there is a lot of work done on my computer before I even pick up a brush and being the painting,” he says. “This way, I can create realistic-looking scenes that could not exist in the real world.”
Each piece takes hundreds of hours to complete due to the meticulous process of defining each building, figure, and tiny, stage-like scene. The artist estimates “1983” took about 850 hours altogether, and while the time commitment alone makes it “easy to burn out on them…” he says, “I do plan on continuing the series with at least a few more.”
Find more on Bartels’s website and Instagram.
“Urban Glitch 1985,” oil on linen, 30 x 30 inches
Detail of “Urban Glitch 1985”
“Urban Glitch 1979,” oil on linen, 30 x 30 inches
Detail of “Urban Glitch 1979”
Detail of “Urban Glitch 1979”
“Urban Glitch 1991,” oil on linen, 30 x 30 inches
Detail of “Urban Glitch 1983”
“Urban Glitch 2001,” oil on linen, 30 x 30 inches
Detail of “Urban Glitch 2001”
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painting

More stories

On Canvas and Shell, Alexis Trice Paints Ethereal Scenes Gleaming with Energy

In ‘Seeking an Exit,’ Gretchen Scherer Escapes to Grand Homes and Galleries of the Past

Collaged Portraits by Emma Odumade Draw on the Past to Face the Future

Titus Kaphar Paints Memories, Family, and Grief into ‘Exhibiting Forgiveness’

Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings

David Antonio Cruz Celebrates Queer Love with Joy and Opulence

Step Into Beguiling Bygone Eras in Jeff Bartels’s ‘Urban Glitch’ Series

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