Scott Kirschner’s provoking paintings obscure as many as they reveal, blending fantasy and dark surrealism in each scene. His fine art practice is complemented from an illustration career, where he became one of the first major artists associated with the Magic: The Gathering card game. His recent shows, with galleries such as Arch Enemy Arts, offer an unchained look inside the artist’s mind.
The action-filled paintings of Conor Harrington pit nameless political tribes against each other. His explorations of patriotism and contemporary social themes come in the form of Baroque figures, combining classical oil painting techniques and graffiti influences. The artist most recently expressed this thread in “The Story of Us and Them” at HENI Gallery in London.
The disturbing, dreamlike figures of Cajsa von Zeipel are crafted in mixed media. The artist’s practice moves between polished, bronze creatures and ones created with materials like resin, fiberglass, plaster, styrofoam, steel, synthetic hair, wood, and more. Many seem to be involved in their own narratives, experiencing feelings of terror, ecstasy, or in transit.
The figurative works of Paul Reid revive the world of ancient Greek mythology, yet render new scenes through the artist’s contemporary vantage point. Though Reid’s education and understanding of form owes much to the masters of yesterday, his own cinematic style comes through in each of these scenes, feeling at once elegant and casual.
Muralist Eron crafts enormous works that bring both atypical textures and historical context to the structures. One recent piece by the artist (below) “is dedicated to the history of the village and to the destructive fire that was deliberately set in retaliation for italian partisan activities on 3 July, 1944,” the artist shared on Instagram. “The fire destroyed most of the houses.”
In Katja Novitskova‘s recent, massive installation, “Invasion Curves,” the artist offers an environment with creatures taken straight out of nature and the laboratory. The recent exhibition at Whitechapel Gallery offered a fictional landscape facing a “biotic crisis” (or a period of mass extinction), “where imaging and technology are used in a process of mapping the exploitation of life,” the gallery says.