On Saturday (Feb. 25), three solo exhibitions fill the spaces at Copro Gallery in Santa Monica. The features artists are Chris Mars, Amadine Urruty, and Ciou, each creating dreamlike worlds that can be both warm and unsettling.
Hollis Dunlap, a Vermont-born artist, crafts portraits that blend painted realism and sculptural concepts and abstractions. These oil paintings can appear as distorted photographs, yet hidden within these textured backgrounds and surprising hues are several hidden decisions and possibilities. Hollis started painting when he was 14, studying strictly realism before developing this current style.
Ivan Meshkov, an artist based in Chelyabinsk, Russia, used pencil and ink to create moody, hyperdetailed works often adorned with skulls, squids, and other iconography often found in tattoo culture. His work can be seen on album cover from bands of varying genres, including acts like Black Urn, Ruhr, Potlatch, Humbaba, Human Sprawl, and others.
A new group show titled “Process” features artists who use photography as “as a means to an end rather than an end in itself.” This includes usage, manipulation, and altering of photographs in media like drawing, digital art, collage, painting, and more. The Helikon Gallery & Studios show features artists like Jinsil Lee, Jessica Wohl, Corianne Wells, Curt Bean, Nicki Crock, Peter Yumi, Anitra Isler, and several others. The show runs March 18 through April 22.
Zhang Jian Long, an artist based in China, crafts bronze sculptures and paintings that touch on the innocence, mischief, and broader whimsy of being a kid. Against natural backdrops, the mood and memories evoked by the pieces ring even truer. And although there are flourishes of cultures throughout time contained in the piece, the materials used give the works a timeless quality.
Max Guther, a 25-year-old illustrator living in Germany, Guther creates “digital collages by transforming photographic material, textures and self-constructed objects.” The artist uses a top-down perspective reminiscent of computer games of yesterday, offering both a voyeuristic and broad point of view. In a series of illustrations titled “The Goodlife,” Guther explores the balance of relaxation, work, and “social environment.”