Menu
The New Contemporary Art Magazine

On View: “Safe From Tomorrow” by Kathie Olivas at AFA Gallery

"Their world was soft like melancholy. The conversation was silent. Their faces were small and round, incapable of invoking fear. Once the door was open, nothing could be unseen." This is how Kathie Olivas describes the childlike subjects of her latest exhibition at AFA gallery, "Safe from Tomorrow". The show boasts a series of 20 new paintings and 16 sculptures inspired by early Americana portraiture. The nostalgia felt by her palette and inspiration is constrasted with a concept set in the future.


“Safe from Tomorrow” by Kathie Olivas

“Their world was soft like melancholy. The conversation was silent. Their faces were small and round, incapable of invoking fear. Once the door was open, nothing could be unseen.” This is how Kathie Olivas describes the childlike subjects of her latest exhibition at AFA gallery, “Safe from Tomorrow”. The show boasts a series of 20 new paintings and 16 sculptures inspired by early Americana portraiture. The nostalgia felt by her palette and inspiration is constrasted with a concept set in the future. Olivas’ earlier works tell a more apolcalyptic story, as melancholy little girls looked on in fear. Here, their eyes are filled with curiousity and newfound strength. Donned in armor borrowed from their animal friends, their “protectors of tomorrow”, they are safe from what is to come.

“Safe from Tomorrow” by Kathie Olivas exhibits at AFA Gallery through January 31st, 2015.

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles
Interpretations of Lyon based Eric Lacombe's mixed media works and paintings have been varied and extreme: monstrous, melancholy, horrific, and even beautiful. Describing his art as "caricatures of the soul", the self-taught artist's images exaggerate and distort his characters' faces into haunting portrayals. Their faces look almost like masks, some painted without mouths or eyes, or given bird-like beaks, and yet their transfiguration is the most revealing thing about them. Each is a sort of reflection of the artist's own feelings, who likens his subjects' appearance to a deconstruction of their torment.
A child of a bustling city of contrast and colors, Rodrigo Branco's affinity for abstraction may come as no surprise. But his blurred portraits of local people in São Paulo, created using patches of colors and expressive strokes, are actual representations of what the artist used to see as a little kid. Raised in the southern outskirts of the city, Branco had a severe vision impairment that was left untreated for years.
Yasuyo Fujibe's softspoken, decorative works immediately caught our eye at LA Art Show last week. Her pieces there represented a departure from her older monochromatic paintings of faces in favor of new bolder elements. This would be her unique portrayal of doe-eyed girls in the arabesque style of Islamic art. Her use of surface decorations are based on the linear patterns of foliage and snowflakes, tiled repeatedly in a lace-like manner. Quiet yet intense, girls stare dreamily through their veils of interwoven lines.
This Saturday, Merry Karnowsky gallery will present three side by side solo shows by Los Angeles based artists Mercedes Helnwein, Kim Kimbro, and Vonn Sumner. Together, their new works are elaborate and psychologically intense, depicting dream like moments. Read more about their respective shows, "Mama Said Amen", "The Queen of Calvary", and "Gravity and Other Lies" after the jump.

Subscribe to the Hi-Fructose Mailing List