Visoth Kakvei, a Cambodia-born artist who resides in Maine, crafts intricate, illusion-filled drawings inside of his sketchbook.The artist sometimes digitally enhances these works, further pushing the absorbing nature of his work and keeping the viewer guessing which aspects of the work are inherent and which are affected.
In the past, Jillian Dickson’s colored pencil drawings blended flowers and female anatomy. With “My Undies,” the artist’s realistic, vibrant style highlights a different brand of intimate imagery. The artist says that “the reality of women’s underwear seems to be one big dirty secret.”
Jeremy Fish’s solo show “Yesterdays and Tomorrows” at San Francisco’s FFDG has a carefully planned installation. Black lines on the gallery’s left wall outline a cartoon thought bubble that houses almost 20 years worth of drawings; on the parallel wall of the narrow space, mural-scale paintings hang inside the hollow outlines of cartoon bunnies painted directly on the room’s surface. But at the opening night of “Yesterdays and Tomorrows,” it was difficult to even get close enough to see these meticulous details. A huge crowd had amassed to celebrate an informal retrospective of one of San Francisco’s most well-known artists from the past two decades.
Illustrator Kate Lacour describes her work with three words: “body horror beauty.” More silly than terrifying, her “Bodies” series of drawings remixes factual textbook-style anatomy diagrams, transforming the make-up of the human body into kaleidoscopic arrangements of limbs and organs. Lacour achieves visually pleasing symmetrical compositions through strange juxtapositions of parts. In one piece, the musculature of two faces intertwines like an infinity symbol, nestled inside a female pelvis that has been opened up for view. In others, she incorporates Buddhist imagery (the lotus position, open-palmed hand gestures) — perhaps to show that these bodies shouldn’t inspire fear but rather expose a new perspective on the structures we take for granted.