Ryan Heshka’s Mean Girls aren’t just a stuck-up clique of catty ladies. His upcoming show, “Mean Girls Club” at Wieden + Kennedy Gallery in Portland, chronicles the felonious exploits of a group of femme fatales with diabolical schemes and improbable hourglass figures. A departure from how he usually presents his work, “Mean Girls Club” will merge Heshka’s years of experience in animation, design and fine art. Though he is primarily known as a painter, this show is focused on a multi-media installation: an immersive recreation of the Mean Girls’ clubhouse that will feature peepshow-like openings that reveal 8mm stop-motion animations, faux-human taxidermy sculptures, sound elements and typographical and silk-screened visuals.
South African designer Justin Plunkett’s “Con/struct” series has more in common with the digitally-fabricated renderings of speculative architecture than documentary photography, but it illustrates an eerie collision of both formats. The images are built from a combination of photography, 3D modeling and substantial post-production editing, to form street-level perspectives of futuristic urban fantasies.
Mars-1′s (featured in HF Vol. 26) large-scale paintings are filled with color and movement that seems to evolve slowly yet powerfully. It’s as if each piece contains something like a Big Bang playing out in slow motion for viewers to observe. His current exhibition “Toward A Distant Dawn” opened at Martha Otero Gallery in LA on June 7, featuring several monumental paintings as well as bronze sculptures and installation elements. In the center piece of the show, a mural-sized work exploding with color, Mars-1 expertly layers pigments, making them appear saturated yet slightly translucent. The geometric forms gently pulse in some pieces and fly, as if in a fiery explosion, in others — a visual translation of metaphysical and spiritual concepts that lie beyond the realm of Earthly existence.
Over the weekend at Joshua Liner Gallery in Chelsea, NYC, California-based artist Thomas Campbell opened his solo show “Ampersand,” bringing with him a calm from the Pacific that seemed disorientingly refreshing in a city that breeds anxiety. Campbell, who is as much a painter as he is a filmmaker, skateboarder, surfer, record-label founder and photographer, continues to defy the mainstream pressures of specialization and containment, a shared temperament for many of his fellow artists that emerged in the 1990s — the Beautiful Losers such as Barry McGee, Cheryl Dunn and Harmony Korine.
On Saturday, just hours before the event, Corey Helford disclosed the location of artist Brandi Milne’s emotional new work, 2-years in the making. Their large warehouse pop-up space hosted a carnival-style opening, complete with cotton candy, but thematically, “Here Inside My Broken Heart” is Milne’s most intimate show. Milne’s latest series of paintings interprets the ups and downs of her own broken heart with layered imagery. Her sugary sweet, lyrical paintings are far less literal than her previous offering at Corey Helford, “Before I Hide Away” (covered here). Gone are the handwritten quotes Milne strung throughout her narrative, perhaps allowing her work to speak for itself. Read more after the jump.
The Yok & Sheryo are a New York-based artist duo whose busy, illustrative murals can be found on walls world-over, from Hong Kong to Miami. Most recently spotted at the street art festival Pow! Wow! Taiwan (see our coverage here), the frequent collaborators have developed a signature style that contrasts an austere palette of red, white and black with jovial, surreal imagery — sentient hot dogs on a tropical vacation, a surfing Satan that seems as friendly as Santa Claus, et cetera. The artists’ frequently-used motifs, like pizza and palm trees, reference pulp illustrations, skateboard graphics and their unabashed affinity for kitsch. They bring together a frenzied array of imagery that speaks to those who grew up admiring ’80s and ’90s skateboarding and surfing culture.