Josie Morway’s enigmatic, absorbing tableaus pair winged creatures with abstraction and peculiar textures. A new show at Creatura House in Seattle, titled “Adaptations,” collects new oil and enamel paintings from the artist that show both the beauty of nature and dark encroachment of mankind. The artist was last featured on HiFructose.com here.
In Rebecca Morgan’s ceramics work, her surreal and humorous sensibility is at its most visceral. Her sculptural work often takes the form out of unsettling, yet enchanting heads, carrying exaggerated features and expressions.
Stephanie Corr Gartanutti started as a painter, but after multiple sclerosis had diminished her fine motor skills for a period, she began to use sculpting as method to both create and cope. Each of her figures begins with a single piece of wire, and then “the wire is cut, shaped and fastened to itself. Then repeated again and again. Later in the process the wire will be woven through until it becomes a substantial object, that can be further manipulated and cut into shape.”
Scott Musgrove’s 7.5-foot-tall, 12-foot-wide triptych “The Sanctuary” is finally complete. The artist spent nearly three years on the piece—made from oil on panel, wood, bronze, and glass—while simultaneously working on shows and other projects. (Musgrove was last featured on HiFructose.com here.) Below, the artist shares exclusive commentary on the creation of this piece with Hi-Fructose.
Lien Truong calls her recent works “a frenetic amalgamation of western and Asian painting techniques and philosophies.” The artist’s choice of materials—oils, silk, thread, cotton, acrylics, and antique 24k gold-leaf obi thread—create an absorbing cacophony of culture and honed skills. The series “Mutiny in the Garden,” in particular, take on varying and converging histories.
In the series “Ça va aller,” photographer Joana Choumali adds embroidery to images captured of her African hometown, Abidjan, in the days after the March 2016 Grand-Bassam terrorist attack that took 19 lives and injured 33. She began embroidering as a way to cope, with the series evolving from this approach. The artist observed a melancholic population following the event.