Dame lo. Oil on Canvas. 78.7 H x 82.7 W x 0.8 in
Diana Roig paints richly textured gestural paintings. In Dame lo, the artist has created a piece that has all the colorful complexity of marbled clay, but the grittiness of a cross-sectional slide of scar tissue. The artist says that some people say that it feels like a landscape, and that others say it reminds them of water lilies.
In these three pieces by Polish painter Anna Orbaczewska we see a woman in a bathing suit walking or standing looking down, as if she has lost something and is searching for it.
In each of these pieces, only a part of the canvas has had color applied to it, so that we see the woman, and just a hints of her surroundings: some greenery, water, and mud or sand, painted in dark greens, blacks, and browns. The effect is to brighten the canvas over all, while emphasizing the figure and her pose. We are left to wonder what the figure is doing.
Untitled. Oil on Canvas. 39.4 H x 27.6 W x 0.8 in
Untitled. Oil on Canvas. 47.2 H x 31.5 W x 1.2 in
Untitled. Oil on Canvas. 47.2 H x 31.5 W x 0.8 in
Portrait #20. Acrylic on Paper. 31.9 H x 20.9 W
In this painterly portrait by British artist Khalid Khan, a man’s face is portrayed in rich earthy colors, painted in sharp jabs and curves. Only portions of the face are fully captured, the rest is left for the mind to fill in. This portrait is part of a series, similarly executed; some of random individuals, but many are of people the artist knows.
Sink Full of Dishes. Oil on Wood. 46.5 H x 33 W x 1.8 in
In Sink Full of Dishes, artist Emma Copley paints in bright, cheerful colors, a garden, and behind it, a pleasant landscape of golden hills and tall grasses, as seen through a kitchen sink’s window. The view is from the artist’s summer home, and is the view the artist would have seen when standing washing up after a meal. The sink area, painted in blues and blacks, is full of dirty dishes, haphazardly stacked and waiting to be washed. The dirty kitchen taunts us with its routine drudgery, while we long for the freedom and pleasure of the bright garden.
It is tempting to read the presence of the dirty dishes as a conscious act of defiance by the artist against the cultural imposition of norms of feminine tidiness, but the tyranny of domestic chores over those who work from home: not only is the artist’s kitchen being presented to us in a state of disorderliness, but the artist has prioritized the painting of this picture over washing up.
SAT NAV. Oil on Wood. 15 H x 11.4 W x 0.5 in
In SAT NAV, the artist again shows us a part of the world as seen through a window, this time through the windshield of a vehicle. In the foreground is the dashboard of a motor vehicle, the steering wheel on the right-hand side in the British fashion. Through the window we see what might be an old windmill. The view through the window is awkwardly constrained by the vehicle. One wants to sit up and look over the dash, but one cannot.
Beach Day. Oil on Wood. 19.5 H x 31.5 W x 1.5 in
In Beach Day by British artist Emma Copley, a multitude of people occupy a distant sandy ocean-side beach. A bluff is seen in the distance, upon which are several cheerful white houses with blue windows. In the foreground is a small rambling fence. The sea is painted in a myriad of blues, pinks and yellows, while the beach sand is predominately yellow and orange. The scene is lively and fun, but distant. This distance, coupled with the thickly applied paint and vibrant color, encourages us to focus on larger patterns of how people group together and use space, rather than their individual activities. A socially oriented landscape.
Krukov Canal. Acrylic on Canvas. 70.9 H x 70.9 W x 1.6 in
In this pleasingly complex landscape painting by Russian artist Igor Nelubovich, the famous Krukov Canal of St. Petersburg is painted in winter; trees, lamp-posts, and fences are presented as harsh angular black shadows, and the snow is far from pristine. The only prominent regions of color are two, probably richly ornate, buildings of some sort. Their distant magnificence is in opposition to the inhospitable aspect of what is immediately observed before us.
View 01. Oil on Canvas. 23.6 H x 23.6 W x 1.6 in
In this abstract figurative painting by Hungarian artist János Huszti, a figure defined by negative space, looks through either a camera or pair of binoculars upon what might be a distant sea-side pier partially hidden by fog.
According to the painter, a blank canvas was painted in three or four colors, and then pressed against a second canvas, allowing the two canvases to slip against the other, creating a textured background. Finally, the canvas was painted with white to create negative space.
The Scent of Rain and Wet Hair. Oil on Canvas. 37.4 H x 33.5 W x 0.8 in
Few paintings of rain feel quite as wet as this evocative painting by artist Robert Bubel. Here, two trees painted in black and blue drip with rain over a sidewalk running along an empty street. Painted in whites and yellows, details of the street and sidewalk are lost, as they are slick and glossy with an abundance of rain.
Titled, The Scent of Rain and Wet Hair, the piece attains its forceful presence, in part, by drawing upon our own memories of walking in the rain. The title also does something interesting: although no figure is visible, some person must be present: the person whose wet hair is smelled, and the one who smells that hair. These, of course, could be the one and same, and the artist himself.
Available for a Limited Time. Acrylic on Paper and Wood. 24 H x 20 W x 0.9 in
In Available for a limited Time by American artist Sam Tudyk a large, unused, billboard looms over two small houses on a green forested hill. Power lines pass behind it, hanging like old cobwebs, reinforcing the impression that, despite the signage’s self-reported availability, the billboard is derelict, once available, but as it turns out, only for a limited time.
Intermission. Mixed media on wood. 16 H x 20 W x 0.9 in
In Intermission an abandoned drive-in theater screen sits in an empty parking lot at night. Drive-in speakers on posts stand in neat rows, wires twisting like weeds. The dilapidated screen is riddled with holes, exposing the ribs of its backing frame. If it is intermission, no one has waited around to see the next act. But who knows? What is old can become new again.
Pinguin. Oil on Canvas. 66.9 H x 47.2 W x 0.7 in
In this painting by Austrian artist Margit Platny, now living and working in Italy, a group of three figures painted in various shades of gray, are seen walking determinedly toward their own colorfully patterned shadows, which extend outward from their feet as might be observed in the last moments of daylight. The ground, painted in places green and others gray, is fog-like, as if the ground were a sheet of glass, or perhaps a mirror, upon which moisture had gathered such that it is only in their shadows that we can see more truly the nature of the world they walk upon.