Kyle Thompson is a young photographer on the rise. He began shooting at age 19 in his hometown of Chicago, Illinois, and in the last couple years has amassed a substantial body of work that shows a surprisingly adept and concise voice for such a young artist. This work, just released in a book titled Somewhere Else is comprised mostly of self-portraits taken in various abandoned locations found while on a road trip traveling the country.
The dark and insanely detailed drawings of Laurie Lipton mix elements from different eras of art and time, including her own surreal version of reality. When asked her to describe her meticulous, cross-hatching in one word, she answered, “sick” (with a grin). She has exhibited and lived all over the world from Holland, Germany, France, and recently London, where she spent time with the likes of Terry Gilliam, one of her favorite creatives. She will exhibit the art discussed here at Ace Gallery in Los Angeles next year.
Since January, Texas based artist Jason Limon has been hard at work on a new character driven narrative, “Monstrous Days”. When we last caught up with him, it was before his 2013 solo “Foretell”, focused on strange, hybrid characters in nightmarish imagery. His work always has a cinematic quality like an apocalyptic 1950s monster film that was never made. Classic movie monsters are traditionally an antagonistic force to be reckoned with who demand empathy from the viewer. Limon mixes these references with the inspiration he finds in equally perplexing nature. Take a look after the jump.
Anachronistic worlds painted by Mike Worrall are charming enough to convert the ardent historian into a romantic dreamer. Dressed in a severe Rococo-style, a woman holds a dial telephone and with a stiff neck, gazes purposefully at a pug sharing the cobblestone pathway. In the background, a peculiar golden glow emanates from behind a tree. Titled It’s a Lovely Day Tomorrow, the painting prompts the viewer to believe this curious character traveled forward in time. Other works in the UK-born artist’s oeuvre are more explicit in their treatment of the surreal. In The Portal of Intoxication, Worrall borrows the visual vocabulary of René Magritte by using the painted image of a picture frame within the pictorial frame to create and complicate layers of universes within a single composition.
You may recognize So Youn Lee from our posts about her ethereal pen drawings and candy-colored paintings. Her new work is progressively character based- following a young space explorer named “Mango” through strange environments that echo childhood memories. At her Los Angeles studio, she sketches daily and experiments with motifs, from the abstract shapes of Korean folk textiles to the hyper-real balloons of Jeff Koons. A Japanese art influence is definitely there as well. Among Lee’s favorite artists are Aya Takano and Yoshitomo Nara, and she is an avid Manga reader. Most of the pieces shown here were created as an exercise, but seem to have left a lasting impression. We went behind the scenes to learn more about So Youn Lee’s new direction and her future plans.
During the late Italian Renaissance, ‘Mannerist’ artists had technically mastered the nude and began playing with her proportions. Toronto based artist Troy Brooks uses the same visual language in his figurative paintings of elongated women. The ‘women of Troy’ are characteristically fashion forward and emotionally indifferent; caught between moments of boredom, rebellion, and transformation. Often, his blonde ‘heroine’ is compared to Psycho’s Norma Bates, which might cast her as a manipulative she-devil. She is posed in weird environments of soft colors that match her pale white skin. Her abnormally stretched limbs are almost torturous-looking and unsettling, complimenting Brook’s bizarre themes.