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      Contemplative Works by Ali Cavanaugh Consider Vulnerability and the Sublime Through Watercolor

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      Art
      #painting
      #portraits
      #watercolorJanuary 20, 2022Grace Ebert“Steep” (2017), 16 x 20 inches. All images © Ali Cavanaugh, shared with permissionThrough delicate washes of peach, aqua, and smoky gray, St. Louis-based artist Ali Cavanaugh (previously) renders watercolor portraits that lay her subjects’ spirits bare. “I’m continually searching for something complex in human expression,” she tells Colossal. “Curiosity, sadness, wonder, hesitation, peace, and acceptance all in one glance.”Cavanaugh paints her dreamlike works on wet clay panels, allowing the bright backdrops to illuminate the translucent pigments. The resulting works are introspective and intimate while simultaneously harnessing the universal experience of the sublime. “I want the viewer to look at one of my portraits and say, ‘What are they thinking?,’ and also at the same time say, ‘This is so familiar and is exactly how my loved one looks at me when they are vulnerable,’” she says.If you’re in New York, you can see Cavanaugh’s portraits through January 28 at Salmagundi Club. Otherwise, shop available originals on her site, and keep an eye out for future print releases on Instagram. She also shares videos chronicling her process and tutorials on some of her techniques on Patreon.“Above,” 12 x 12 inches“Smolder” (2017), 12 x 12 inches“Only Once” (2015), 18 x 18 inches“Confidante” (2017), 12 x 16 inches“One to Listen and One to Love”“Rest on Water” (2017), 12 x 12 inches
      #painting
      #portraits
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      Tender Embroidered Portraits by Ruth Miller Are Tinged with Expressive Colors

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      Art
      #embroidery
      #portraits
      #tapestryJanuary 20, 2022Grace Ebert“Congregants,” 20 x 35 inches. All images © Ruth Miller, shared with permissionBeginning with a line drawing in pencil, U.S.-based artist Ruth Miller renders hand-embroidered portraits based on photos. Her wool tapestries and thread drawings layer stitches in yarns of both realistic and fanciful colors, creating expressive depictions that use the material’s texture to enhance light and shadow. “Coupled with realistic drawing, that tiny amount of physical depth brings the images closer, giving them a more immediate sense of presence… In the months that they’re still in my studio, the stories they tell become more concrete and nuanced in my mind, just as they would in a steadily lengthening conversation,” the artist writes.Miller’s works are often life-sized and take months to complete, a process she details on her site. “At work, I spend a good deal of time simply looking; first seeing, then wondering,” she shares. “Each of the pieces you see on this page changed me as the narratives within them took form within me.” (via Women’s Art)“The Impossible Dream is the Gateway to Self-Love”Left: “Teacup Fishing,” hand-embroidered wool on fabric, 58 x 31 inches. Right: “Our Lady of Unassailable Well-being,” hand-embroidered wool on fabric, 19 x 21 inchesDetail of “Teacup Fishing,” hand-embroidered wool on fabric, 58 x 31 inches“Duafe”Sketches for “Congregants”Detail of “Unspoken Truths”Photo by Ann Madden
      #embroidery
      #portraits
      #tapestryDo 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! Share this story  More

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      Human Anatomy and Decomposing Flora Unveil a Surreal Mix of Dreams and Feelings in Rafael Silveira’s Portraits

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      Art
      #anatomy
      #oil painting
      #painting
      #plants
      #portraits
      #surrealDecember 29, 2021Grace EbertAll images © Rafael Silveira, shared with permissionIn Rafael Silveira’s Unportraits, magenta curls and slick, turquoise coifs frame the bizarre scenarios unfolding in a subject’s mind. The Brazilian artist, who gravitates towards oil paints in shades of pink and blue, translates a character’s psyche through wilting flowers, gashes in the earth’s surface, and parrots with feathers that drip like wet paint. Anatomical elements like singular eyes, hearts sprouting veins, and twisting brain matter bolster the unearthly qualities of each work, which meld flora and fauna into a surreal mishmash. “From inside, we are a strange mix of dreams, thoughts, feelings, and human meat,” Silveira tells Colossal. “I think these portraits are not persons but moods.”Peculiar situations surround the subjects as their sweaters melt like ice cream and spiders spin webs from the parched ground supplanting their necks, a visual that evokes thick wrinkles associated with aging. These fleeting actions are part of the artist’s reference to paper ephemera and the ways thoughts and feelings decompose over time. “This rich mental energy is like an invisible raw element, part of the immaterial alchemy of my works,” he says. “We can’t control what life brings us, but we can decide how to react. We make these small decisions all the time. These characters evoke the power of reaction.”Silveira is based in Curitiba, Brazil, and has his work slated for a January group exhibition at London’s Dorothy Circus Gallery and in March in an immersive solo show at Farol Santander in São Paulo. Until then, pick up a print and keep an eye on his Instagram for new additions to his portrait series, which will be on view in July at Choque Cultural Gallery.
      #anatomy
      #oil painting
      #painting
      #plants
      #portraits
      #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! Share this story  More

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      Contrasting Shades of Gray with Vibrant Color, Otis Kwame Kye Quaicoe Paints Bold, Subversive Portraits of Black Subjects

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      Art
      #oil painting
      #painting
      #portraitsDecember 22, 2021Grace Ebert“David Theodore” (2021), oil on canvas, 144 x 108 inches. All images © Otis Kwame Kye Quaicoe, courtesy of Roberts Projects Gallery, shared with permissionGhanaian artist Otis Kwame Kye Quaicoe has a proclivity for contrast. In his striking portraits of Black people, he gravitates toward shades of gray to render the skin tone of single figures or small groups, who sport patterned garments, hats of textured fabrics, and generally vibrant fashions that are in direct opposition to their physical features. The bright, bold color palette is the artist’s preferred method for translating emotional states, inner lives, and idiosyncrasies, one he emulates with the richly textured impasto backdrops surrounding his subjects.Quaicoe is currently a resident at Rubell Museum, where he’s created a trio of monumental works that consider the trope of the American cowboy. “Rainyanni,” “Moses Adomah” and “David Theodore” stand 12 feet high and are reminiscent of the bandana-wearing figures the artist painted earlier this year. Similarly subversive is “The American Dreamer” (shown below), which centers on a younger figure—the subject’s skin is covered in a swirling pattern of lines, a recurring trait in some of the artist’s most recent pieces—who wears a hat printed with stars and strips.A few of Quaicoe’s portraits are on view through January 27, 2022, at Green Family Art Foundation in Dallas and at LACMA through April 17, 2022, and you can explore more of his oil-based works on Artsy and Instagram.“Rainyanni (Cowgirl)” (2021), oil on canvas,144 x 108 inches. Courtesy of Roberts Projects Gallery“Dapper III” (2020), oil on canvas, 84 x 54 inches. Courtesy of Roberts Projects Gallery, photo by Alan Shaffer“The American Dreamer” (2021), oil on canvas, 40 x 30 inches. Courtesy of Roberts Projects Gallery, photo by Alan Shaffer“Blue Turtle Neck” (2021), oil on canvas, 60 x 40 inches. Courtesy of the aritst and Almine Rech“Allure” (2020), oil on canvas, 40 x 30 inches. Courtesy of Roberts Projects Gallery, photo by Alan Shaffer“Moses Adomah” (2021), oil on canvas, 144 x 108 inches. Courtesy of Roberts Projects Gallery“Shelcy and Christy” (2020), oil on canvas, 48 x 36 inches. Courtesy of Roberts Projects Gallery, photo by Alan Shaffer
      #oil painting
      #painting
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      Loose Threads Dangle from Bizarrely Expressive Portraits Sewn by Yoon Ji Seon

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      Art
      Photography
      #fiber art
      #humor
      #portraits
      #sewing
      #threadNovember 30, 2021Grace Ebert“Rag face #21004” (2021), sewing on fabric and photography, 112 x 73 centimeters. All images © Yoon Ji Seon, courtesy of CRAIC AM, shared with permissionThe cheeky, uncanny works that comprise Yoon Ji Seon’s ongoing Rag Face series bring the knotted, twisting, and generally convoluted entanglements of a subject’s psyche to the forefront. Her photographic portraits are printed on roughly cut pieces of canvases and then overlaid with rows of tight stitches and loose strings that drip from an eye or loop across a face. Adding color and depth, the threads “can be seen or felt like internal conflicts, external stimuli, umbilical cord, blood vessels, sagging skin, hair, or time as a point of each viewer,” the artist says.Zany and outlandish in expression, the portraits are a playful mix of confusion and jest that Yoon derives from traditional Korean comedies, called madangnori. Those performances consider “the suffering and reality of the people through humor and satire while arousing the excitement of onlookers,” she says, explaining further:I think what I’m doing these days is to make (an) ‘image’ of these comedies. What I want to pursue through my work is ‘humor’ in the end, but this humor does not bloom in happiness. During intense, painful, and chaotic lives, humor can be like a comma, to relax and recharge.Because the sewn works are unique on either side, they produce mirrored images that are a distorted version of their counterpart, bolstering the strange, surreal affect of each piece.The Rag Face series now spans decades of the Daejeon City, South Korea-based artist’s practice, and you can browse dozens of those pieces on her site. (via Lustik)“Rag face #16020” (2016), sewing on fabric and photography, 141 x 97 centimeters“Rag face #21003” (2021), sewing on fabric and photography, 94 x 68 centimeters“Rag face #21004” (2021), sewing on fabric and photography, 112 x 73 centimeters“Rag face #16015” (2016), sewing on fabric and photography, 47 x 26 centimeters“Rag face #17010” (2017), sewing on fabric and photography, 128 x 97 centimeters“Rag face #19003” (2019), sewing on fabric and photography, 146 x 119 centimeters“Rag face #21002” (2021), sewing on fabric and photography, 170 x 118 centimeters“Rag face #17010” (2017), sewing on fabric and photography, 128 x 97 centimeters
      #fiber art
      #humor
      #portraits
      #sewing
      #threadDo 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! Share this story  More

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      Social Issues and the Climate Crisis Intertwine in Subversive Crocheted Works by Jo Hamilton

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      Art
      Craft

      #crochet
      #landscapes
      #plastic
      #portraits
      #yarn

      November 15, 2021
      Grace Ebert

      “I Crochet Portland” (2006-2009), mixed crocheted yarn, 63 x 114 inches. All images © Jo Hamilton, shared with permission
      From a mix of wool fibers and yarn made from plastic waste, Scottish artist Jo Hamilton crochets large-scale portraits and architectural landscapes delineated with dangling threads. Her knotted pieces push the boundaries of art and craft traditions, bringing the two together in subversive portrayals of powerful women and metropolises marred by production. Unraveling at the edges, the textured works reflect on interlocking issues like unchecked capitalism, social disparities, and the increasingly urgent climate crisis.
      All of the materials Hamilton uses are recycled, whether sourced from estate sales and resalers or created in studio. A few years ago, she started turning grocery bags, videotapes, and other household items into skeins of yarn-like threads—the artist shares some of this process on Instagram—as a way to reduce her impact on the environment, explaining:
      We tend to glorify nature as an eternal and everlasting idea, separate from ourselves and our real-life actions. We’ve held on tightly to these ideas during the last few decades in the throes of late capitalism and globalization, and if we don’t change our thinking, policies and behavior immediately it will be too late. So I channeled my anxieties about over-production, pollution, and climate change into my work, using plastic in some of the works in contrast with the yarn.
      If you’re in Portland, stop by Russo Lee Gallery to see Hamilton’s most recent works as part of her solo show Transitory Trespass, which closes on November 27.

      “Cherry Steel Above and Below” (2017), mixed crocheted yarn, 68 x 122 inches
      “Shinig Mountain Eclipse.” Photo by John Clark
      Left: “Masked Metamorhic.” Right: “Masked Marbled.” Photos by John Clark
      “Death Star PDX” (2018), mixed crocheted yarn, 45 x 52 inches. Photo by John Clark
      “Isaac Montalvo” (2008), mixed yarn, 23 x 22 inches
      “Head & Neck Dietician” (2016), mixed crocheted yarn, 29 x 27 inches
      “Groucho Gia” (2013), mixed crocheted yarn, 51 x 36 inches
      Hamilton with a 2019 outdoor crocheted mural project on SE Foster Road in Portland. Photo by Kevin McConnell
      Hamilton with a 2019 outdoor crocheted mural project on SE Foster Road in Portland. Photo by Kevin McConnell

      #crochet
      #landscapes
      #plastic
      #portraits
      #yarn

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      Impasto Layers Blur Portraits and Landscapes in Li Songsong’s Fragmented Oil Paintings

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      Art

      #China
      #impasto
      #memory
      #oil painting
      #painting
      #portraits

      November 11, 2021
      Grace Ebert

      “I Am What I Am” (2020), 120 x 100 centimeters. All images © Li Songsong, shared with permission
      Chinese artist Li Songsong (previously) obscures portraits and wider landscapes with thick dabs of oil paint. His textured, impasto works are based on found photographs or imagined scenes, and each conveys a narrative tied to ordinary moments or a broader shared history. Varying the extent of distortion in every piece, Songsong tells Colossal that interrogating personal identity is at the center of his practice. The “cultural and historical aspects are related to China, and the language and expressions are my own,” he explains.
      Songsong’s recent works include a tender scene with an officer and his dog, a portrait of a hopeful pilot, and a panoramic shot featuring a crowd with hundreds of anonymous faces. The richly layered pieces speak to the haziness and fragmentary nature of memories and stories, especially those interpreted from a distance, and come into focus when viewed farther back with a squint.
      Based in Beijing, Songsong is currently working on a new series of works, which you can follow on his site.

      “Blondi” (2019), 210 x 180 centimeters
      “Blondi” (2019), 210 x 210 centimeters
      “Tea for Two” (2020), 210 x 210 centimeters
      “No More Tears” (2020), 100 x 100 centimeters
      “You Haven’t Looked at Me that Way in Years” (2020), 170 x 280 centimeters
      “Three Decades” (2019), 210 x 420 centimeters

      #China
      #impasto
      #memory
      #oil painting
      #painting
      #portraits

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      Gold Ornaments and Precious Stones Adorn Tender Photographic Portraits by Tawny Chatmon

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      Art
      Photography

      #gemstones
      #gold
      #portraits
      #watercolor

      November 4, 2021
      Grace Ebert

      “Joy” (2020), 24k gold leaf, acrylic on archival pigment print, 30 x 20 inches. All images © Tawny Chatmon, shared with permission
      In If I’m No Longer Here, I Wanted You to Know, photographic artist Tawny Chatmon overlays portraits of young children and families with dabs of 24-karat gold leaf, precious stones, and watercolor details. The heavily adorned images are the latest in Chatmon’s superimposed works, which veered from digital collages to the hand-gilded pieces evocative of Gustav Klimt’s Golden Phase that are similar to those shown here, and respond to themes of unity and togetherness born out of the ongoing pandemic.
      While many of Chatmon’s works previously centered on a single subject, she’s transitioned to also photographing two children at play or entire families, including fathers where she otherwise had not. She explains:
      My father played such a paramount role in my, my sisters’, and my mother’s lives. It did not sit well with me that I wasn’t celebrating that in my work, too. It has been 10 years since we lost our father to prostate cancer, yet still, his lessons and love carry us through our days. I thought of my husband too, my brother-in-law, my friend’s fathers and husbands, and all of the world’s compassionate fathers and how important they are, and I especially wanted to celebrate Black fathers who are often depicted as anything other than what they truly are… phenomenal.
      Through gilt embellishments, Chatmon emphasizes the beauty and value inherent in her subjects, whose joyful, tender expressions and gestures exude warmth and affection. “The past year’s pandemic revealed to me once more that time with our loved ones is not infinite… While the revelations of injustice leading to civil unrest reminded me of the urgency to continue to work towards a better future for our children,” she says. “I do not wish to wait for the perfect time, the perfect place, or the perfect day to express my love for family and friends.”
      Currently based in Maryland, Chatmon will show some of her portraits with Galerie Myrtis at the 2022 Venice Biennial. She’s working on a new series titled Remnants, which explores themes of futurity and harmony through mosaic-style pieces comprised of snippets of the artist’s previous paintings. You can follow her progress on Instagram.

      “Created in Her Image” (2020), 24k gold leaf, acrylic on archival pigment print, 40 x 30 inches
      “Destined To Lead The Way” (2021), 24k gold leaf, acrylic, precious and semi-precious stones, on archival pigment print 34 x 22 inches
      “He’s Got The Whole World In His Hands” (2021), 24k gold leaf, 12k gold leaf, acrylic on archival pigment print, 46 x 28 inches
      “Best” (2020), 24k gold leaf, acrylic on archival pigment print, 40 x 30 inches
      “Look Forward, Beloved Boy” (2020), 24k gold leaf, acrylic on archival pigment print, 36 x 24 inches
      “It Was Never Your Burden To Carry” (2020), 24k gold leaf, acrylic, watercolor on archival pigment print, 52 x 36 inches
      “Sweet Heart” (2016/2020), 24k gold leaf, acrylic, precious stones on archival pigment print, 20 x 16 inches
      “Ahead” (2020), 24k gold leaf, acrylic on archival pigment print, 28 x 21 inches

      #gemstones
      #gold
      #portraits
      #watercolor

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