Fascinated by acrobats and aerial performers, Chloe Early (featured in HF Vol. 26) gracefully captures their seemingly-effortless movements with her light, airy oil paintings. Figures seem to tumble through clouds of color as Early allows the pigment to run down the aluminum sheets she uses as her canvases, letting the colors blend and evolve on their own. Her characters fall through the abstract fields like sleepers descending into their dreams. Early’s current solo show, “Suspended,” opened at The Outsiders in London on April 4 and will be on view through May 3. The artist collaborated with filmmaker Andrew Telling on a short film based on her inspiration for the show. Watch the video and take a look at some of the paintings in the exhibition below.
Sitting at the cross-section of painting, sculpture and installation, Alison Blickle’s work (featured in Hi-Fructose Vol. 28) simultaneously floats loftily into an imaginary realm while grounding itself in the real world. Her current solo show at Kravets Wehby Gallery in New York, “History of Magic, Part II… Initiation,” is a series of rich, detailed oil paintings that function as snapshots into Blickle’s myth-like narrative of a mystical woman. In last year’s solo show at Eleanor Harwood Gallery in San Francisco, “History of Magic, Part I… The Hermitage,” Blickle told the story of a woman determined to create an object that would change the world. Her current exhibition at Kravets Wehby functions as the second chapter to her tale, where sorceresses prepare our protagonist to travel the world with the magical vessel she has made.
Expression-wise, there’s nothing out of the ordinary about the eyes in Japanese artist Naoto Hattori’s recent portraits of young women. Sometimes they’re as large, all seeing, and innocent as anything you’d find in Japanese anime. Sometimes they’re sinister, black pinprick holes that mask or otherwise portend malicious intent. What are extraordinary are the heads and faces. They combine elements of Odilon Redon, Giuseppe Arcimboldo, and Day of the Dead iconography. The single eye that covers a cat’s face; faces constructed from unexpected organic shapes; a Cheshire Cat that emerges grinning from the top of an exploded head; and a skull. Even the ones that look normal either have henna-like markings on the scalp or else look like death portraits.
Submerged in water and veiled by murky fog, nude bodies float, fight, and fly to the surface in Ramona Zordini’s provocative photographs. Though on the surface, the artworks are driven by an undeniable sexual energy, they are laden with sentiment. In her recent series Changing Time III, Zordini creates narratives by posing nude couples in a variety of positions. A man wraps his arms around a woman who curls up, head down, under water. In another photograph, a man with an undercut wraps his arms around his nude partner who faces upwards and appears to be pushing against a confining force. Their legs intertwine and one feels their desperation, their need to cling and hold on to one another.
Greetings. This is a note from the editors to correct a printed error that occurred during the editing of Nastia Voynovskaya’s beautifully written print feature article on Ray Caesar in Vol.31. Regrettably, the seemingly small edit changed the writer’s intention significantly. Our deepest apologies to both Ray Caesar and to Nastia Voynovskaya for the oversight. The following sentence which was published, reads “Ray Caesar will tell you that the above description is more of a reflection of his neuroses than of his artistic intentions.” It should instead read, “Ray Caesar will tell you that the above description is more of a reflection of this writer’s neuroses than of his artistic intentions.” We will also published this correction in the next print issue of HF.
Conscious of the ways hyper-sexual imagery saturates our society — from advertising to art — Julia Randall provokes a conversation about eroticism through her symbolic drawings of a viscous, biomorphic substance: chewing gum. When I interviewed her for Hi-Fructose Vol. 25, Randall discussed the ways sexuality is often overly idealized, when in reality it can often be strange, humorous, embarrassing and, above all, imperfect and unique. Her chewing gum drawings are intended to inspire new ways to conceptualize carnal desire. Rendered entirely in colored pencil, her subject matter is visceral and suggestive, evoking something different for every viewer. Randall’s latest exhibition, “Oral Fixations: Drawings by Julia Randall” (appropriately, an allusion to Freudian theory), is currently on view at the Davison Art Center at Wesleyan University in Middletown, Connecticut.