Wednesday, November 21, 2018

brian mains

The figures in Brian Mains’ paintings don’t have faces. That is, they do actually have faces, but the artist never lets us see them.

c. bernardi

When it comes to integrating art and human rights, Berkeley-based printmaker/installation artist Claudia Bernardi has few peers.

wm. swanson

William Swanson’s coolly compelling, rigorous-yet-playful paintings depict conglomerations of human artifice and natural landscape, which seem to have been put into a blender and electrified.

nguyen-duy

Pipo Nguyen-duy’s large-scale color photographs of solitary figures adrift in lush, sometimes ravaged landscapes evoke our post-9/11 anxieties without any overt images of the Twin Towers or other icons from that tragic day.

m. l. o

O’Neal’s intuitive, associative process produces works that combine abstract, ambiguous space with figurative elements suggestive of narrative.

sid garrison

Sid Garrison’s colored pencil drawings come into being through a process that he describes as a kind of “call and response” and sometimes even a “skirmish.”

peter zokosky

Zokosky is a painter who delights in short-circuiting the accepted evolutionary order. In his canvases humans regularly divest themselves of their skins, exposing the flayed musculature beneath, whilst still maintaining classical poses.

jimi gleason

“Being a painter in SoHo, in the late ’80s, I kept seeing these Cibachrome prints, big shiny photos. I wanted to bring some of that back into painting, to steal it back.”

gronk

As a politically engaged artist, Gronk evolves projects with context as a constant consideration, and the manner of the two artists’ original meeting became integral.

john sonsini

John Sonsini says of his thickly painted portraits of Latino men that he is “remaking the person’s image.”

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“Flower Tree,” 2014 Matt Wedel, NCECA

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