In her series of paintings titled Breakup, Polish artist Monika Marchewkapoignantly portrays the interior experience of grief as revealed in the act of covering oneself in a blanket; it is however the blanket itself, more than the act, that conveys the emotion in these paintings. Painted in cold whites and blues, but more tumultuously textured than the room’s interior, the blanket appears like a snow drift that has buried the grieving woman beneath it.
Romanian artist Edith Torony creates richly textured abstracts composed of what are only nearly recognizable components. In Part of the Crowd, small figures are scattered within a dirty, crowded circle, one half of which is in darkness, and the other bathed in a dirty ochre. Given the title of the piece, the elements within it, and the utter lack of green or blue, one is tempted to see here a grim depiction of the our planet, either in its current or future ecological state. Regardless of the interpretation, the painting elicits a feeling of discord and claustrophobia.
Inspired by a visit to the Garden of Experiences, this oil painting by Polish artist Grażyna Smalej depicts a figure laying on green grass beneath a sky filled with colorful dots or spheres. The figure lies on their back, but their face is turned away looking at nothing in particular, except perhaps for a white building in the distance. The dots appear to emanate from the figure, reinforcing the impression that these are not anything physically present, but are instead a manifestation of the person’s reverie; many, no doubt, would wish to share in the experience, forsaking for a time the serious practicality of most of our daytime activities.
In these two landscape paintings by Australian painter Paul Patrick Morrison, mountains appear as anything but tranquil. Instead, using vibrant color, sharp contrasts, and almost violent compositions, these mountains feel both beautiful and dangerous, dynamic entities that must be reckoned with.
And indeed they are. Mountain 1, is in fact, K2, the second tallest mountain in the world.
In this intriguing oil painting by Czech painter Tomas Nemec, three night-time bathers hesitatingly enter the water of a pond or river. The tall grass and what appears to be curled barbed wire standing between the scene and the observer gently chides us for our act of voyeurism; has our curiosity been satisfied? what were we hoping to see? what presumptions guided us?
Oil on Canvas. 51.2 H x 66.9 W x 1.2 in.
In this pleasing oil painting by Polish artist Robert Bubel, a woman walks through an open art gallery towards a group of paintings hanging on the wall. Paint drips from the canvases, as if to express their fresh vibrancy. The title of the piece is provocative; is it addressed to the woman in the painting? or is it an invitation to view the art in its natural format: hanging on a wall, rather than as a digital image.
Oil on Canvas. 35.4 H x 39.4 W x 0.8 in
In Not My Father’s Oldsmobile, a classic car passes through an intersection. The dynamic radial composition invites the observer into a scene typical of contemporary American life. Yet, the muted colors suggests a certain emotional distance from the scene, as if to warn us away from nostalgia: this is not your father’s Oldsmobile, and it is only passing through.