David Krovblit’s pop surrealist collages explore consumerism, sexuality, and other social themes. His “Porthole” series, in particular, juxtaposes retro exploration gear, floral arrangements, and Western iconography. His work is part of the current collage group show “Mèlange” at Arch Enemy Arts, running until Aug. 25.
The chimerical paintings of Yosuke Ueno return in a new show at Thinkspace Projects. “But Beautiful,” kicking off this weekend, features works from the self-taught, Tokyo-based painter that take influence from “everything from Japanese culture, ancient Greek mythology, Tokyo Street fashion and video games to Disney animation and the Western canon of art history.” Ueno was last featured on HiFructose.com here.
Bangkok-based artist Aof Smith is known for his candy-colored, Pop-Surrealist scenes, cacophonies of his distinct cutesy characters and unsettling action. Smith’s massive paintings contain even stranger details upon inspection. His figures often stand in contrast, with humans offering an odd point of entry in these wild narratives.
In the new group show at Creatura House, 10 artists interpret a theme of “Aquamarine” as they see fit. The works from John Brophy, Brian Despain, Jonathan Viner, Flannery Grace Good, Laurie Lee Brom, Logan Hicks, Gail Potocki, Claudia Griesbach-Martucci, Madeline Von Foerster, and Scott Musgrove moves between reflections of the natural world and the mystical.
Christian Russo crafts illustrations that seem to both utilize and parody elements from popular culture. The Chicago-based artist blends multiple approaches to each aspect of a work, showing an ability in emulating tattoo art, comic characters, realism, and other styles.
The latest work from artist Greg “Craola” Simkins explores the daydreams of youth, offering alternative universes and fantastical creatures. His new show with KP Projects, “The Escape Artist,” collects those new paintings and drawings. Simkins was last mentioned on HiFructose.com here, and he created the cover and was featured in Hi-Fructose Vol. 41.