Conveying elapsed time and bombastic energy, Mitchell Villa’s process involves long strokes and motions that use his entire body. The self-taught painter depicts scenes that range from Biblical allusions to horror to intimate domestic portraits. Works like the triptych “Dinner Party” show the artist’s penchant for controlled cacophony.
Tokuhiro Kawai is known for paintings that both recall and satirize scenes from mythology. Yet, as his statement with Gallery Gyokuei reminds us, “The history of pictorial expression is history of reproduction.” In recent years, Kawai has specifically garnered popularity for the motif of felines donned in the garb of royalty.
There is seemingly no element too exotic to inhabit an oil painting by Alan MacDonald, whose works traverse cultures and histories to present something always elegant in execution. At the base of MacDonald’s work seems to be a need for adventure, exploring inspiration and varying perspectives in each work.
At once lush and eerie, Sarah Slappey’s oil paintings offer vague limbs and organs against natural environments. Of her distinct visual language, she’s said “I wanted to build a world from the bottom up.” The South Carolina native, now residing in Brooklyn, New York, has recently shown these scenes at venues in New York City and Switzerland.
Pavel Guliaev describes his paintings as “subject realism,” a world that is wholly his yet invites viewers to conjure their own meanings. Shifting planes, along with figures and objects belonging to no specific time or place, are qualities that seem to exist across all of Guliaev’s work. The result is a scene both dreamlike and visceral.
Justin Fitzpatrick’s oil paintings blend influences from Art Nouveau, illuminated manuscripts from the Middle Ages, anatomical drawings, and elsewhere. The actual subjects in the works likewise move through time, from using the construction workers as visual motif to creatures of the natural world rendered with Victorian flavor.