google ad sense 728 x 90

Showing posts with label acrylic. Show all posts
Showing posts with label acrylic. Show all posts

Heroines by Deborah Oropallo At Melissa Morgan Fine Art



above: Deborah Oropallo, Where am I?, 2012, 50 1/2 x 38 1/2 inches, acrylic on paper

Melissa Morgan Fine Art just received artist Deborah Oropallo's newest paintings and works on paper from her latest series “Heroine.” in their Palm Desert Gallery.

Oropallo says of the Heroine series, which was begun in 2012, “The ‘struggle,’ I think, becomes a kind of metaphor for how women in the media have been portrayed, or wished to be portrayed…pre- or post-feminist, depending on the decade. Since the beginning of the comic-book industry in the 1940s, super-heroines have searched for identity on a broader scale. The super-hero fights for justice, but the super-heroine must also fight for equality. These eroticized and deified female characters, conformed as they are to the comics medium’s traditional visual tropes, thus carry out their struggle in a realm of ironic dichotomies—empowered and exploited, funny and tragic, masked and exposed.”

Don't Believe Me?
2012
Acrylic on Canvas, 64 x 49


This is just the beginning.
2012
80 x 60 inches, acrylic on canvas


What have you done?
2012
49 x 64 inches, acrylic on canvas


There's not enough time!
2012
50 1/2 x 38 1/2 inches, acrylic on paper


How can this be possible?
2012
80 x 60 inches, acrylic on canvas


Not even you!
2012
38 1/2 x 50 1/2 inches, acrylic on paper


This can't be happening!
2012
38 1/2 x 50 1/2 inches, acrylic on paper


From Magolia Editions:
"Deborah Oropallo continues her exploration of the iconography of power and costume in a new series of mixed-media works depicting abstracted female forms clad in superhero costumes. Oropallo’s inspiration for these prints was a troupe of female performers in Los Angeles, whose thriving web-based business venture involves dressing up in superhero costumes and enacting live-action comic books. The artist’s digital manipulation of these figures and their outfits zeroes in on ambiguous moments of dressing and undressing, where a metamorphosis, a kind of becoming or un-becoming, seems to be taking place. This ambiguity is heightened by the artist’s removal of nearly any trace of human flesh or faces from each figure, a signature move that destabilizes the work, creating a tension between figuration and abstraction: because so much information has been removed from each image, the fragments and gestures that remain assume both an air of mystery and a critical significance."

In a 2009 essay on Oropallo’s work, Nick Stone writes: “We know that we are decoding these images not because we are sure of what they mean but precisely because we are unsure; from a semiotic point of view, the works’ indeterminacy is what makes them tick. Because the code is not immediately legible, we become aware of its presence, and are confronted by a system which we may not have even been aware that we were using. This tendency to mask and unmask via layers and distortion is a consistent theme for Oropallo: in a 2004 interview she noted, ‘I’m always trying to soften the definition, [to] dissolve the images a little more.’ Beginning with the Feign series and continuing through the works collected here, Oropallo’s work has increasingly honed in on this theme; she has committed herself to a singular exploration of this indeterminacy, the process of blurring, distorting, and erasing information so as to scramble the viewer’s radar. In Feign, the digitally painted figures are recognizable as such, and their gender roles and costumes are fairly clear; it is the surface code, the medium, the code of line and color on a ground, which is being interrupted and jammed. As the figures in Guise become more indistinct and the boundaries of each figure and his or her costume – the boundaries of his or her very his-ness or her-ness – suddenly the codes of gender and power begin to break down and dissolve into one another. And in Wild Wild West, the figures have disappeared completely, as if acid has eaten away at the underlying medium by which these codes are transmitted. In this series it is as if Oropallo is paring each image down in search of the barest minimum of information necessary for our eyes to read into line and shape a link to some conceptual referent. By feeding our internal codecs ever fuzzier and more ambiguous data, she dares us to be sure of the meaning we take from each image.”

Visit the Melissa Morgan Fine Art gallery to see these wonderful works. They are located at 73-040 El Paseo in Palm Desert, CA.

The Pop Surrealism Of Emmy Lincoln (AKA ItchySoul).



above: In 'The deeply misunderstood friendly Shiphugger', ItchySoul has added a giant octopus and water details atop a found vintage oil painting of a classic clipper ship.

Sweden-born artist Emmy Lincoln, who goes by the artist moniker ItchySoul, creates imaginative lowbrow artwork by up-cycling flea market finds such as old oil paintings, antique photos and old book covers as well as creating her own original acrylic works.


above left: acrylic body art painting upon a 1922 book cover (Snovit) and acrylic demons painted atop a vintage 1917 Budapest photo of a one year old Hungarian boy (Ferike).

Inspired by sci-fi, fairytales, animé, toys and all things kitsch, this is her way of paying tribute to the unknown or forgotten artist. She sees her paintings as "stories yet to be told."

Here are more of her wonderful pieces.

The chances of anything coming from Mars are a million to one, he said (acrylics atop a vintage landscape painting):

Mermaid and Alligator (original acrylic painting in vintage frame):

Neon Menace (painting and wax seal atop an IKEA printed canvas):

Piggy's Big Day Out (acrylics atop an antique landscape oil painting):

When I Was A Young Fawn (acrylics atop a vintage oil painting):

detail:

The Good Girl (spirits in acrylics painted on 1915 Hungarian photograph):

Forest Mushroom Dwellers (acrylics on plywood) and Visiting (acrylics on canvas):

Friends (Acrylic triptych on canvas):


About the artist:


Born in 1980, Emmy grew up as a middle child in the tiny village Dösjebro. She was constantly drawing on things and her friends and family always encouraged her to. Both her grandmother Berit who was a map drawer and painter, and her mom Yvonne who is a ceramic artist, were great inspirations for her growing up.

After finishing high school in 1999 Emmy traveled for a few years and had stray jobs in hospitality in London, Tokyo and Sydney. She ended up studying graphic design at the Enmore Design Center, Sydney. Then followed internships at design studio Campbell Barnett and ad agency Arnold Australia.

Since returning to Sweden in 2005 Emmy is working as a Visual Designer in the mobile phone industry and is currently freelancing under company name ItchySoul AB.

Emmy lives in Malmö with her boyfriend Mattias where they share a cozy music- and art studio. Her debut art exhibition was at the No White Walls 43 gallery in Malmö in May 2013, where her quirky mash-up paintings were very appreciated by the audience.

all images courtesy and copyright of the artist

See more of her fun work here.

For New Year's Eve, The Party Hat In Art by 16 Artists From Jeff Koons to Redshift.



With New Year's Eve tonight and a new year of birthdays coming up, I was inspired by the notion of 'Party Hats' and wanted to see what was out there in terms of fine art that incorporated the classic pointed hat. I was not disappointed and I hope you won't be either.

One Subject. One Dress. A Bunch of Fabulous Paintings By Erin Cone.



above: Erin Cone, Evade, 2011, acrylic, 40" x 36"

Texas born artist Erin Cone was named one of Southwest Art Magazine's "21 under 31" to watch in 2003. Since then she has had numerous individual and group shows at galleries all over the United States. Currently showing at San Francisco's Hespe Gallery and having just participated in a group show, In Portrait, at the Blank Space Gallery in New York, Erin's latest works continue her bold take on contemporary figurative realism.

Reminisce:


Looking a bit like a cross between mannequins and photo-shop filtered images, her latest acrylic paintings, clearly self-portraits, avoid direct confrontation with the viewer in almost all instances, like one of my favorite water-colorists, Ali Cavanaugh. This is more prevalent in her work since 2009 - in many her earlier works, specifically in 2005, she confronted the viewer with an almost expressionless gaze.


above: Erin Cone, Underwater, 2005, acrylic, 24" x 26"

In her recent works, she continues to use flat bold colors and geometric shapes to make up the backgrounds, setting off the figure's red dress, which is featured in 15 of the paintings shown in this post. In some cases, small rectangles are represented by negative space as in the case of Repartee 1 and Repartee 2 and in others, small rectangles of color are added as in Allude, Debutante and Assemblage. Still in others, the dress or background is faceted into a series of rectangles, playing up the multiple planes of color.

Here's a look at many of her 2011 pieces.

Repose:

Discourse 1:

Discourse 2:

Debutante:

Charade:

repartee 1:

Repartee 2:

Adieu:

Allude:

Assemblage:

Rouge:

Vignette:

and Ennui:


In addition to the above paintings, other pieces of Erin's newer works feature herself in other clothes, but they still feature one lone figure against flat colored backgrounds, in which the face is partially obscured or turned away from the viewer:

Falter:

Halt:

Yield:

Axis:

Pivotal:

Refuge:

Hold:

Discrete:

Subtle:



Erin Cone:


"I emphasize visual impact over narrative context, focusing on the subtle orchestration of my subject within a framework of design. I create a deliberate push-and-pull between near-photorealistic detail and my own vocabulary of visual glitches that challenge that very realism. This duality is central to my work and allows the figures I paint to remain wholly representational while functioning abstractly — evoking emotion without defining it."
-- Erin Cone

Erin Cone is Represented by:
Hespe Gallery, San Francisco, CA
Lanoue Fine Art, Boston, MA
Melissa Morgan Fine Art, Palm Desert, CA
Nuart Gallery, Santa Fe, NM
Rosenbaum Contemporary, Boca Raton, FL

Nostalgia On Canvas. Allan Innman Paints Our Favorite Childhood Toys.



above: Full Metal Jacket, oil on canvas
 
If toys from your childhood like Mr. Potato Head, plastic Cowboys and Indians, Lego®s, Strawberry Shortcake, Play•Doh and View-Masters take you back, the paintings of Allan Innman will be like a trip down memory lane.


above: Dump Truck, oil on canvas, mounted on board

Rendered in oils and acrylics, Allan paints classic toys from the 70s and 80s in a realism style, capturing their colors and spirit. From Gumby and Pokey to Talking Teddy Ruxpin, his collection of works called "Back In The Day" will have yearning to bring out that Susie Bake Oven or indulge in some paste-eating.

Here are a few of my favorites.

Blue Play Doh:

Turnin' The Corner:

Here's Looking At You Kid (Lego Minifig):

Legos:

Lime Chiffon At Charmkin's Flower Mill:

Cowboys and Indians:

Sunday Afternoon Nap (Teddy Ruxpin)
 
Pretty Pony:
 
Tater Head:

The View Master:

Gumby and Pokey:

Assorted Toys:


In the artist's own words:

I was born and raised in Oxford, Mississippi. In May 2006, I graduated with a BFA degree in Graphic Design from The University of Mississippi. I currently work for the University of Mississippi Department of Art as the Visual Resources Specialist maintaining the slide library and digital image library.

above: Allan in his studio

My interest in art extends to all sorts of different mediums. In the past, I have pursued design, printmaking, and painting. My current series of paintings focuses on the idea of evoking nostalgia through childhood toys.

Allan is also an accomplished landscape painter and works in mixed media as well. See all of his work here.

Please donate

C'mon people, it's only a dollar.