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Preview: Clive Barker’s “1977” at Century Guild

While his most well-known projects are his horror novels and short stories, Clive Barker has a long career as painter that will be surveyed in his new exhibition, "1977," opening tomorrow night, August 23, at Century Guild in Culver City. The interdisciplinary artist — whose biggest credits include having his novels adapted for the Hellraiser and Candyman film series — will be showing a series of paintings he created in 1977 when he was 24 years old, as well as new works from this year. Filled with macabre imagery, Barker's paintings have a bone-chilling quality while balancing horror with humor. Coinciding with the exhibition will be the release of Barker's new art book, Imaginer.

While his most well-known projects are his horror novels and short stories, Clive Barker has a long career as painter that will be surveyed in his new exhibition, “1977,” opening tomorrow night, August 23, at Century Guild in Culver City. The interdisciplinary artist — whose biggest credits include having his novels adapted for the Hellraiser and Candyman film series — will be showing a series of paintings he created in 1977 when he was 24 years old, as well as new works from this year. Filled with macabre imagery, Barker’s paintings have a bone-chilling quality while balancing horror with humor. Coinciding with the exhibition will be the release of Barker’s new art book, Imaginer.

24 year old Clive Barker in 1977.

Topics

1977, Century Guild, Clive Barker, Imaginer, painting

Leah Haney, painting

April 10, 2015

Working out of her Austin studio, Leah Haney makes paintings that aspire to create an experience akin to entering a work of architecture. Her mixed-media works are produced with the thesis that painting, much like architecture and design, can stand alone and be experienced on a purely visual level — without piled-on metaphors or subtexts. Haney began her creative journey at UT Austin, yet found a life-changing experience in visiting Florence, Italy shortly on graduating. These days, the artist can be found mostly in her Austin studio complex, constantly rearranging her studio furniture to achieve the best personal environment for creating each piece. We spoke to her about the ways architecture informs her work, her creative process, and her passion for science fiction.

Kazuki Takamatsu’s Ghostly Paintings Get ‘Decoration Armament’

Kazuki Takamatsu, painting, Pop Surrealism

April 21, 2016

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.

Chet Zar Looks at Classic ‘Villains’ in New Show

Chet Zar, dark art, painting

October 11, 2018

In a new show at Copro Gallery in Santa Monica, Chet Zar revisits the classic baddies of pop culture with the show "Villains." Just as he does in his art, the artist is able to tether his fascination with the dark and dystopic to art history. “I am interested in the villain archetype as a subject matter,” Zar tells us. “I always have been fascinated by them and I thought it would be fun to do my own take on some. Every great story has a great villain. They are just as important as the heroes. In fact, they create the opportunity for heroes. But more to the point, I just think villains are more interesting and fun to think about. I mean, which part of the Bosch’s ‘Garden of Earthly Delights’ triptych do people talk about? ‘The Garden of Eden’ or ‘The Last Judgement’? I think it’s at the core of what Dark Art is all about- dark imagery is just more fun and interesting to explore.”

Michelle Avery Konczyk’s Watercolor Portraits Have a Dark Side

Michelle Avery Konczyk, painting

July 5, 2016

Michelle Avery Konczyk's beautifully strange portraits of young women with ghostly appearances and third eyes are a far cry from the cheerful, impressionistic paintings we commonly associate with the watercolor medium. "It is my goal," the artist says, "to push the boundaries of the medium and take it where no artist has gone before, not only in technique and subject matter, but in presentation." Moving between the realms of both realism and surrealism, Konczyk's work is layered with imagery that juxtaposes love and beauty with darkness and morbidity as a means to explore "the beauty that lies within our ugly realities."

Preview: Clive Barker’s “1977” at Century Guild

Exclusive Interview: Inside the World of Leah Haney’s Architecture-Inspired Abstraction

Kazuki Takamatsu’s Ghostly Paintings Get ‘Decoration Armament’

Chet Zar Looks at Classic ‘Villains’ in New Show

Michelle Avery Konczyk’s Watercolor Portraits Have a Dark Side

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