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      Hidden Mother: Swaths of Fabric Disguise Figures in Mixed-Media Portraits by Artist Sarah Detweiler

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      Art

      #acrylic
      #embroidery
      #oil painting
      #painting
      #portraits

      April 28, 2021
      Grace Ebert

      “The Nightowl” (2021), oil, embroidery thread, and yarn on canvas in a wood frame, 28 x 22 inches. All images courtesy of Paradigm Gallery, shared with permission
      The lengthy exposure times required by 19th Century photography were not conducive to newborns and fidgety toddlers, a problem many mothers tried to remedy by cloaking themselves in fabric and hiding behind furniture. As a result, those Victorian-era portraits, while capturing an endearing stage of life, are often spectral and slightly unnerving, shadowed by phantom limbs and textile silhouettes that closely resemble an inanimate backdrop despite their lively features.
      This desire for disguise informs the multi-media works of Philadelphia-area artist Sarah Detweiler, whose ongoing series Hidden Mother is on view at Paradigm Gallery through May 22. Depicted without children, Detweiler’s portraits subvert the original photographs to instead draw attention to the figures otherwise purposely relegated to the background. Fabrics rendered with a combination of oil, acrylic, gouache, watercolor, and embroidered elements further confront traditional notions of femininity and motherhood by literally cloaking the women in materials long associated with domesticity.
      Because the artist has a personal relationship with each subject, the textiles, motifs, and colors all evoke specific aspects of their personalities and distinct experiences, resulting in idiosyncratic portraits tethered only by their shared identity. “In maintaining the anonymity,” a statement about the series says, Detweiler “preserves a universal relatability—the woman under the shroud could be you, your mother, your friend.”
      If you’re not in Philadelphia, you can take a virtual tour of the sold-out exhibition, and watch this Q&A with Detweiler for a deeper dive into the series, which is available as a limited-edition print set on Paradigm’s site. Head to Instagram to see more of the artist’s process, including some of the original photographs that informed the portraits shown here.

      “Hide and Seek” (2021), acrylic and embroidery thread on canvas with a wood frame, 20 x 16 inches
      Detail of “The Nightowl” (2021), oil, embroidery thread, and yarn on canvas in a wood frame, 28 x 22 inches
      Left: “The Hidden (Creative Rainbow) Mother” (2020), oil and embroidery thread on canvas, 18 x 24 inches: Right: “Tutus and Kitties and Pink, Oh My!” (2021), oil, acrylic, and embroidery thread on canvas in a wood frame, 24 x 18 inches
      “Ghosts of Mothers Past” (2021), oil, acrylic, embroidery thread on beveled edge canvas, 20 inches in diameter
      “If You Love Something, Set It Free” (2021), oil, embroidery thread on canvas in a wood frame, 12 x 12 inches
      “She’s in There Somewhere” (2021), oil and embroidery thread on canvas, 12 inches in diameter
      “Life of the Party,” oil on oval canvas with a beveled edge, 16 x 20 inches

      #acrylic
      #embroidery
      #oil painting
      #painting
      #portraits

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      Artist Amy Sherald Depicts a Vast Array of Black Leisure through Monumental and Nuanced Portraits

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      Art

      #painting
      #portraits

      April 20, 2021
      Grace Ebert

      “A Midsummer Afternoon Dream” (2020), oil on canvas, 106 x 101 x 2.5 inches. All images courtesy of Hauser & Wirth, shared with permission
      Amy Sherald plumbs the multitudes of Black leisure in The Great American Fact, a series of arresting portraits that are currently on view at Hauser & Wirth Los Angeles. From a woman resting on a bicycle to two surfers readying for the water, the oil-based paintings observe moments of respite and pleasure at a monumental scale, sometimes spanning nearly nine feet across.
      Although she surrounds her subjects with vivid patches of color and portrays them wearing bright garments, Sherald (previously) continues to render her subjects’ skin in her signature grayscale, which she’s described in recent years as a way to have the figures read “in a universal way, where they could become a part of the mainstream art historical narrative.” This new series also features elements synonymous with American culture, including a white picket fence, Barbie T-shirt, and retro convertible.
      The collection’s title draws on the work of Anna Julia Cooper, an educator who in 1892 wrote A Voice From the South by a Black Woman of the South. In the classic Black feminist text, Cooper described Black people as “‘the great American fact’; the one objective reality on which scholars sharpened their wits, and at which orators and statesmen fired their eloquence.” This understanding structures Sherald’s work and provides guideposts for considering “public Blackness,” particularly as the Georgia-born artist portrays figures with rich personal lives full of ease, relaxation, and joy. When much of Black life historically has centered around grappling with injustice and social issues, Sherald’s turn inward provides a nuanced view of her subjects.
      The five paintings shown here are on view through June 6, and you can find a larger collection of Sherald’s elegantly subversive works on her site and Instagram.

      “An Ocean Away” (2020), oil on canvas, 130 x 108 x 2.5 inches
      “Hope is the thing with feathers (The little bird)” (2020), oil on linen, 54 x 43 x 2.5 inches
      “As American as apple pie” (2020), oil on canvas, 123 x 101 x 2.5 inches
      Detail of “Hope is the thing with feathers (The little bird)” (2020), oil on linen, 54 x 43 x 2.5 inches
      Detail of “A Midsummer Afternoon Dream” (2020), oil on canvas, 106 x 101 x 2.5 inches
      “A bucket full of treasures (Papa gave me sunshine to put in my pockets…)” (2020), oil on linen, 54 x 43 x 2.5 inches

      #painting
      #portraits

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      Moonlit Forests, Fish, and Branches Populate Kirie Silhouettes Cut from a Single Sheet of Paper

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      Art

      #nature
      #paper
      #portraits
      #silhouettes

      April 20, 2021
      Grace Ebert

      All images © Kanako Abe, shared with permission
      From a single sheet of white paper, Kanako Abe (previously) carves exquisite silhouettes of children and young adults who are awash in seas of fish or occupied by quiet campouts. She utilizes the traditional Japanese art form called Kirie—which translates to cut picture—a technique that Abe begins with a sketch before slicing the delicate material with a variety of knives. “I don’t have a chance to change the design once I start cutting, so I find it challenging,” the Seattle-based artist says. “I have to think of the right patterns, controlling negative space, and make sure all the lines are connected so the art won’t fall apart once it’s finished.” A single piece can take anywhere from six to 60 hours to complete.
      Abe shifted to full-time in 2020 and now balances her practice between commissions and ongoing personal projects, a few of which she’ll be sharing soon on Instagram. No matter the context, each artwork reflects a broader connection to nature and its ability to provide an escape from the complications and heartbreak of the current moment. “I find the process of art-making is a way for me to meditate on everyday thoughts and emotions, and it’s much easier for me to express complex feelings or emotions visually than verbally,” she tells Colossal. “The cycle of nature teaches us about the power of letting go or accept things as they are and that there’s a silver lining in everything.”
      If you’re in San Francisco, you can see Abe’s intricate portraits at her September solo show at Rare Device. She’ll also be included in a group exhibition at Today’s Gallery in Ehime, Japan, which opens in December.

      #nature
      #paper
      #portraits
      #silhouettes

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      Graphite Portraits Distort and Intertwine Subjects to Visualize Metaphors of the Body

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      Art
      Illustration

      #anatomy
      #drawing
      #graphite
      #portraits
      #surreal

      April 12, 2021
      Grace Ebert

      All images © Miles Johnston, shared with permission
      Malmö, Sweden-based artist Miles Johnston portrays subjects whose figures are in states of flux, whether through fragmented bodies, multiplied faces, or limbs contorted into impossible positions. Often depicting Johnston (previously) or his partner, the graphite portraits distort typical anatomy in a way that balances the familiar with the unknown and visualizes the thoughts and emotions otherwise hidden inside the mind.
      Whether set against a trippy backdrop or quiet beach, each piece portrays the experience of the body “through a kind of internal metaphorical language,” the artist says. He explains further:
      We don’t directly experience the actual biochemical facts of what is happening in our bodies, hormones secreting, weird little proteins and neurons doing whatever it is they do. Instead, we have a whole language of expressions like stomach tied up in knots, feeling empty, torn in two, burning with anger, etc… I’m aiming for this sort of naive direct representation of what things feel like instead of a literal representation of how they look from the outside.
      Keep an eye on Johnston’s site and Instagram for news on upcoming print releases and his latest works.

      #anatomy
      #drawing
      #graphite
      #portraits
      #surreal

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      Digital Portraits Reinvent Classical Paintings by Enveloping Subjects in Garments and Masks

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      Art

      #collage
      #digital
      #portraits

      March 24, 2021
      Grace Ebert

      “Hidden Perronneau” (2020), photocollage. All images © Volker Hermes, shared with permission
      Nearly a decade before masks became a ubiquitous part of our lives, artist Volker Hermes was fashioning lavish face coverings made of flowers, lace, and ornate baubles. In his ongoing series, Hidden Portraits, Hermes digs into the art historical archive and selects classical paintings that he then reinterprets. Elaborate accessories derived from elements in the original works become tools for obscuring the subjects’ faces, which subsequently draws attention to their garments, gestures, and surroundings.
      Since he began the prescient series, Hermes has based his practice in painting even though he realizes each portrait digitally. Time has given him ample opportunities to delve into the original painters’ backgrounds, periods, and the symbolism of various fashions, an experience bolstered by his costuming work for opera productions.
      Now fluent in historical significance, Hermes continues to parse questions of representation in the works and their current-day implications. “Each era has its own symbols,” he says. “I always like to mention the Chanel costume as a metaphor for today’s upper-class affiliation. There are of course more current, more specific ones, but this garment has something of a general visualization of an established elite.”
      Other emblems—like the big, black hats made from beaver fur that many men don in works from the Dutch Golden Age to signify their rank—are more difficult to recognize today. Hermes says:
      Whoever had such a hat, had himself painted with it. But today we don’t know that anymore. We simply see men with black hats, which no longer trigger anything in us. We look the sitters in the face as our natural approach. If I now exaggerate such a hat in my interventions, blocking the access via the face, the focus changes, the viewer is forced, so to speak, to look at the painting under new aspects, taking into account the meanings that determined the painting at that time.
      From his studio in Düsseldorf, Hermes is preparing new pieces for a group show centered around a theme of clerical representation and pilgrimage, which you can keep up with on Instagram.

      “Hidden Pesne” (2021), photocollage
      “Hidden Larkin” (2020), photocollage
      “Hidden Anonymous (Pourbus)” (2020), photocollage
      “Hidden Cranach III” (2019), photocollage
      “Hidden Liotard VI” (2021), photocollage
      “Hidden Pourbus V” (2019), photocollage

      #collage
      #digital
      #portraits

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      Sublime Renderings of Women and Girls Explore Notions of Beauty in Portraits by Rosso Emerald Crimson

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      Art

      #oil painting
      #painting
      #portraits

      March 19, 2021
      Grace Ebert

      “You Better Be Good” (2021), oil on panel, 36 x 36 centimeters. All images © Rosso Emerald Crimson, shared with permission
      In her exquisite portraiture, London-based artist Rosso Emerald Crimson renders female subjects who emerge through a haze of pastels and muted tones. She infuses the dreamy oil paintings with responses to current affairs and questions about the future, which often serve as a catalyst for her projects. “I don’t ‘think’ specifically about political or ethical issues when I paint although my creative flow is undoubtedly fuelled by the impressions and emotions many global events leave subconsciously,” she tells Colossal. Issues of racial justice and the unrealistic portrayal of beauty have both played a role in her recent works, including the compelling portrait of a young Black girl titled “What Are We Waiting For.”
      Generally, the subjects are people Rosso has a relationship with or someone who’s caught her eye, although she’s expanded her purview to models she’s never met as a way to adapt to pandemic restrictions. The artist often depicts the women and girls staring forward with unsmiling expressions. “I am enchanted by the diversity of human beings which is what truly makes us beautiful,” she says.
      If you’re in London, you can see Rosso’s paintings that are part of an exhibition celebrating Women’s History Month at Zebra One Gallery until March 31. She’ll also have pieces on view at Southbank Centre this summer and a solo show at Chrom Art Gallery in November. Prints and originals are available in her shop, and you can see works-in-progress on Instagram.

      “Enchantress” (2020), oil on canvas, 25 x 18 centimeters
      “Oyin” (2020), oil on aluminum, 24 x 18 centimeters
      “Tenderly Layla” (2020), oil on aluminum, 20 x 15 centimeters
      Left: “Flora” (2020), oil on aluminum, 65 x 50 centimeters. Right: “Girl with ginger hair” (2021), oil on canvas panel, 26 x 20 centimeters
      “What Are We Waiting For” (2020), oil on panel, 30 x 27 centimeters
      “Girl in polka dress” (2020), oil and silver leaf on panel, 122 x 85 centimeters

      #oil painting
      #painting
      #portraits

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      Architecture and Bold Geometry Fragment Cubist Portraits by Patrick Oberhi Akpojotor

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      Art

      #architecture
      #cubism
      #identity
      #painting
      #portraits
      #self-portrait

      March 1, 2021
      Grace Ebert

      “FELA the Rattle” (2019), acrylic on canvas, 48 x 36 inches. All images © Patrick Oberhi Akpojotor, shared with permission
      In his architectural portraits, Patrick Oberhi Akpojotor visualizes the exchange between humans and their built environments, whether real or imagined. The artist’s spatial body of work, which explicitly contemplates the relationship between interiority and exteriority, is founded in his childhood in Lagos, a city checkered with traditional, colonial, and contemporary structures where he still lives today. “I saw how a former residential area became a commercial one changing how people interacted with that community,” he says.
      Rendered in bold blocks of acrylic, Akpojotor’s paintings encourage introspection as they consider how identities inform the design of single buildings and infrastructure, which in turn shape the people who occupy those spaces. The anthropomorphic structures evoke cubist geometry and illusion, fracturing the body with a staircase, brick chimney, or entire house, and some works shown here, including both “In Memory of the Living” pieces, are self-portraits.
      Beyond his surroundings in Nigeria, Akpojotor derives inspiration from ancient African sculptures and masks, particularly “the way the forms are intentionally distorted to pass messages and symbols of their (beliefs),” he shares. “In my work, the way object(s) are placed does not matter. What is important is that the object(s) are represented, and the message is passed.”
      Find a collection of Akpojotor’s paintings, drawings, and sculptures on his site, in addition to studio shots and glimpses at works-in-progress on Instagram. (via Juxtapoz)

      “In Memory of the Living I” (2019), acrylic on canvas, 48 x 36 inches
      Left: “In my Image” (2020), acrylic on canvas, 96 x 63 inches. Right: “Oga Boss” (2020), acrylic on canvas, 48 x 36 inches
      “Girl with Red Ribbon” (2021), acrylic on canvas, 48 x 36 inches
      Left: “Witness to the times” (2020), acrylic on canvas, 48 x 36 inches. Right: “Time” (2019), acrylic on canvas, 48 x 36 inches
      “In Memory of the Living II” (2019), acrylic on canvas, 48 x 36 inches

      #architecture
      #cubism
      #identity
      #painting
      #portraits
      #self-portrait

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      Mixed-Media Portraits by Nelson Makamo Reflect Childhood Innocence and Wonder

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      Art

      #charcoal
      #Johannesburg
      #kids
      #painting
      #portraits

      February 12, 2021
      Grace Ebert

      All images © Nelson Makamo, shared with permission
      Nelson Makamo (previously) is known for his oversized, lively portraits of the children and teens he meets around Johannesburg. Using a distinct blend of acrylic, watercolors, monotypes, silkscreen, and oil paint, the South African artist often delineates their silhouettes with a thick line of charcoal before adding colorful details to their clothing and faces. The resulting works are simultaneously earnest and imbued with a sense of wonder.
      Whether posed or engaged in rowdy activities, many of the subjects sport bright, round glasses, emphasizing Makamo’s focus on viewing the world through the lens of childhood. His subjects “embody the peace and harmony we all strive for in life, the search for eternal joy lies in the child within us all. We are just so consumed with worldly things that we forget the simplicity of life through a child’s perspective,” he says in a statement.
      Makamo recently closed a solo exhibition at Botho Project Space this January, and you can find more of his dynamic pieces on Artsy and Instagram.

      #charcoal
      #Johannesburg
      #kids
      #painting
      #portraits

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