At first glance, Nathaniel Mary Quinn‘s works may appear as collages. But the Chicago-raised artist’s stirring portraits are rendered in charcoal, oil-paint, paint-stick, gouache and oil pastel by his own hands, an alchemistic process that is both meticulous and intuitive. Much of his work pulls from his own experiences, composite memories that mix bright pop cultural references and the bleakness found in his subjects.
Alma Haser is known for adding surreal, sculptural twists to her portraits. One of her new series sees the photographer creating puzzles out of images of identical twins, then swapping every other the piece of the separate portraits for absorbing results. Haser didn’t know where facial features would end up in this process, offering a surprise to both the artist and the viewer. Haser was featured in Hi-Fructose Vol. 31.
Belinda Wiltshire crafts stirring oil paintings, carrying abstractions or other surreal touches that add intimacy to each portrait. The Melbourne-based painter works primarily in the figurative, and at times, fellow artists appear in her pieces. Peers like Tamara Dean and The Huxleys have been depicted by Wiltshire.
Nicolas Romero, also known as “Ever,” is a street artist who has delved into oil and acrylic works in recent years. His strange portraits blend the abstract and the real, each packed with both humor and earnestness. In recent years, as evidenced below, he’s always displayed these paintings as animated GIFs.
The new oil paintings of New York-based artist Kajahl explore “the history and taxonomy of portraiture.” The paintings take notes from differing cultures through time for hybrid reflections on the history of human creativity. The artist’s current show at Richard Heller Gallery, titled “Unearthed Entities,” presents a new collection of these works.
South Korea-raised, Melbourne-based artist Kim Hyunji (also known as Kim Kim Kim) crafts stirring oil portraits that experiment with texture and movement. The artist has said that unlike photographs, “painting no longer relies on flatness; instead it has branched out in the expanded field where I see paint as a sculptural material to add physicality to my portraits.”