Wayne White, the multi-disciplinary artist, puppeteer, art director, set designer, and musician, comes to the Virginia Museum of Contemporary Art on Friday, Nov. 4. White is part of the “Turn the Page: The First Ten Years of Hi-Fructose” exhibition, which inhabits the museum through Dec. 31. The artist will narrate a slew of images, offering some banjo and harmonica tunes along the way.
Haruhiko Kawaguchi, also known as “Photographer Hal,” released the book “Flesh Love” five years ago this December. The book took couples the artist met at Tokyo clubs and had them pose inside a vacuum-sealed bag. In this process, Kawaguchi only had 10 to 20 seconds to take the photos, in order to avoid danger for his subjects.
The faces of subjects in Björn Griesbach’s “Hollow Children” are smudged in graphite on mylar, save for the wide grins rendered ominous in the process. The German illustator, based Hannover, has a knack for evoking specific moods with pops of colors and detailed renderings, but this series offers a simpler, bleak approach. Griesbach was last featured on HiFructose.com here.
The work of French graphic designer and painter Jonathan Ouisse moves between stylized portraits and surreal fantasy scenes. His series “Hungarian countryside portraits” uses a topographical approach to the faces of his real-life subjects, blending a straightforward subject with regional iconography and designs. The artist is currently based in Budapest, Hungary.
Chinese sculptor Liu Xue creates human-animal hybrids that are both elegant and disturbing, displaying a range of emotions between acceptance and anxiety in their existences. A man-pig appears in anguish; a man-walrus exudes confidence and defiance.
Michal Mráz, a painter from Bratislava, Slovakia, uses a combination of stencil work and traditional oil and acrylics to create his work. In the artist’s pieces, multi-layered narratives and images can be experienced both holistically and in disparate sections. The artist says he’s inspired by “nature, urban lifestyle, graffiti, and pop culture,” and with each piece, there’s both a sense of destruction and reconstruction of conventions.