Houston-born artist Shayne Murphy blends realism and the abstract, with his oil paintings featuring explosions of graphite. Using sharpened backdrops and geometric flourishes, the artist tilts perspectives and toys further with reality. Murphy currently has a solo show titled “Fluorescent Gray” at Anya Tish Gallery in Houston, which runs through Nov. 12.
Clive Barker, the British artist, film director, and author, comes to the Copro Gallery in Santa Monica with a new show. “Wunderkammer,” running Aug. 6-27, focuses on the artist’s neo-expressionist paintings. Like Barker’s work in other mediums, the subject matter leans toward fantasy and horror imagery. But as the title suggests (translated to mean the “Cabinet of Curiosities” of the Renaissance), there’s both a playful and mysterious nature to this body of work.
Born in Tibet and raised in Dharamsala, India, Pema Rinzin uses centuries-old thangka techniques to create contemporary works. The result are fresh, gorgeous renderings in ground mineral pigments, Sumi ink, and gold. Rinzin’s personal charge is to bring an education on Tibetan art to the public and schools across the world.
Longtime followers of Japanese artist Kazuki Takamatsu may already know his process: painstaking gouache layers that recreate scenes first imagined on 3-D computer software. Yet, in his latest set of striking paintings at the Corey Helford Gallery in Los Angeles, the otherworldy nature of Takamatsu’s work is what again draws viewers into this haunted world of hologram-like characters. The solo show “Decoration Armament” opens this Saturday, and it features some of the HF Vol. 33 cover artist’s most ambitious and engrossing work yet.
Tunisian artist Atef Maatallah paints people on grainy, monotone backgrounds to highlight the inner worlds of his characters. Maatallah often paints diptychs, in which one panel features only a single object such as a tea pot or small animal. Purposely separated from the human figures, the objects serve as outer manifestations of the peoples’ fears or desires. For example, an elderly woman with sun-baked sunken cheeks watches with a solemn expression as the feathers of a skinned bird — its’ complexion the same color as the woman’s — float downwards. In another image, a forlorn mother looks down as her two children sleep; one in her arms, the other slouched against her back. In the background, a bare light bulb hangs. The light is out.