The people in Carl Beazley's portraits seem to be fighting internal battles to hold back their grimaces and make straight faces. His oil paintings feature young people wearing multiple expressions at once. Several small faces inhabit their full-sized heads, each one sending a conflicting signal. Some of Beazley's portraits look like a time lapse of a single gesture, while others are meant to confuse and amuse viewers with their incongruities.
The people in Carl Beazley’s portraits seem to be fighting internal battles to hold back their grimaces and make straight faces. His oil paintings feature young people wearing multiple expressions at once. Several small faces inhabit their full-sized heads, each one sending a conflicting signal. Some of Beazley’s portraits look like a time lapse of a single gesture, while others are meant to confuse and amuse viewers with their incongruities.
Robots battle in a world that seems simultaneously prehistoric and futuristic in Rob Sato's watercolors. The artist (first featured in HF Vol. 16) defies the limitations of his medium both in content and in format. While watercolor paintings are typically kept small, he works at mural scale, rendering the precise outlines of his giant robots, warriors on horseback and bizarre humanoid characters. The softness of the watercolor is still there, adding a handmade touch to his mechanical subject matter. Sato's latest exhibition "Curses" opens on September 20 at Martha Otero Gallery in LA and features several massive works, folded paintings that become sculptural objects, some simplified sketches and painted baseballs that seem to take their cue from the cave walls of Lascaux. Take a look at our preview below.
A skilled hyperrealist painter, Eloy Morales creates large-scale portraits that play with the expressiveness of the human face. Often using himself as a subject, his mural-scale paintings immerse his viewers in the hairs and wrinkles of his subjects. With each face towering over the viewer, the details becomes much more apparent than what we see in our day-to-day interactions with others. Morales often uses the face as a sort of canvas, as well. For many of his self-portraits, he lathers himself in paint to create an interplay of textures. In other pieces, he covers his sitters' visages with props like googly eyes and butterflies. If you find Morales's skills impressive, he frequently teaches painting workshops in Madrid, where he is based.
The cover for Hi-Fructose Magazine Vol. 41 comes from painter Greg “Craola” Simkins, an artist based in Los Angeles. In this post, you can take a look at how he created the piece that would become this cover. See those photos and a video below. Simkins was last featured on HiFructose.com here.
