Painter Allison Zuckerman’s work pulls from the past and digital present of art history to craft amalgamated depictions of women. She first designs her works digitally, then prints them on the canvas before applying paint to the creation. This year has brought multiple museum exhibitions for the artist, including stints at Akron Art Museum and Herziliya Museum and the University of Florida.
Combining melted paraffin wax and pigments, Dylan Gebbia-Richards crafts luminous and otherworldly landscapes. In a recent show at Unit London, he offered new works and installations that represented his latest experimentations, the artist noting that he created specific tools to craft these pieces. In the end, however, there’s an aspect of his practice that will always be unpredictable.
Keya Tama is a South African artist who says he aims to “reunite old and new through contrasting yet unified iconography.” Tama’s talent for crafting interlocking creatures, either in the backgrounds of his paintings or in the form of murals, also recalls the work of M.C. Escher. Recently, the Los Angeles-based artist has also been collaborating with others in his pieces, such as the work with Caratoes at the jump.
The paintings and drawings of David Welker have adorned rock posters, public spaces, and gallery walls. Each offers Welker’s distinct sensibility influenced fantasy, independent comics, and surrealist fine art.
Lee Jinju’s riveting scenes, with cascading planes and perspectives, offer both intimate symbology and an invitation to draw your own associations. In some works, solitary figures inhabit these geometric confinements; elsewhere, the artist renders just enough objects to draw a viewer into its orbit.
In the upcoming show “Dramaholics,” Mexican painter José Rodolfo Loaiza Ontiveros takes the taboos of reality and injects them into the idealized world of Disney. The show, running Dec. 6-29 at La Luz de Jesus Gallery in Los Angeles, offers new acrylic and oil works from the artist. Ontiveros was last featured on HiFructose.com here.