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Travis Louie Imagines New Mythical Beasts in “Archive of Lost Species”

Through a unique process of applying thin, translucent layers of monochromatic, acrylic paint to a panel over and over, Travis Louie (HF Vol. 32 cover artist) mimics the effect of 19th-century photography. Though filled with fantastical characters, his works have an effect of verisimilitude much like historical documents from the Victorian and Edwardian periods. For his latest solo show, "Archive of Lost Species," which opens at Roq La Rue Gallery in Seattle on May 7, Louie abandons the studio portrait format we've seen before. Instead, his latests works look like snapshots of strange monsters, sometimes observed in the wild and sometimes interacting with their human counterparts.

Through a unique process of applying thin, translucent layers of monochromatic, acrylic paint to a panel over and over, Travis Louie (HF Vol. 32 cover artist) mimics the effect of 19th-century photography. Though filled with fantastical characters, his works have an effect of verisimilitude much like historical documents from the Victorian and Edwardian periods. For his latest solo show, “Archive of Lost Species,” which opens at Roq La Rue Gallery in Seattle on May 7, Louie abandons the studio portrait format we’ve seen before. Instead, his latests works look like snapshots of strange monsters, sometimes observed in the wild and sometimes interacting with their human counterparts.

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On March 5, Seattle's Roq La Rue Gallery will present two solo shows from artists with distinct aesthetic sensibilities. Sam Wolfe Connelly (who was featured in HF Vol. 32) continues his exploration of the subtly sinister with a new series of drawings and paintings called "And Here I Lay." Often set in (nearly) empty houses in remote locales, his work takes on the quality of a mysterious shadow one sees in the corner of one's eye. It has an ambiance of foreboding that can't be easily explained. The cityscapes in Liz Brizzi's concurrent show, "Anagrams," are desolate as well, but her busy mixed-media work departs greatly from Wolfe's sparse paintings. Brizzi combines digitally manipulated photography, collage, and painting on wood panel to create portraits of unpopulated metropolises that look familiar yet alien because of their stillness.

Opening tomorrow, Roq la Rue's new group exhibition "Plus One" gives their artists the opportunity to pair up with their latest inspirations. There are twelve artists in the exhibition, six selected artists and their +1's: HF Vol. 27's Stacey Rozich (+ Matt Craven), John Brophy (+ Deanna Adona), Peter Ferguson (+ Olivier Bonnard), HF Vol. 32 cover artist Travis Louie (+ Dorian Vallejo), Redd Walitzki (+ Meghan Howland), and Amanda Manitach (+ Adam Mars). Take a look at our preview after the jump.
The feelings of horror and rapture collide at high speeds when viewing Lauren Marx's work. The St. Louis-based artist creates beautiful vignettes that speak to the cycle of life. Rather than a cleaned-up, Disneyfied verson of nature, her paintings give us raw depictions of birth and death. Influenced my scientific illustrations and the Baroque period alike, Marx's maximalist mixed-media works present these cyclical phenomena in visually appealing ways, often fusing the chaotic elements of nature into stylized compositions with an emphasis on design. Marx's solo show, "American Wilderness," opens at Roq La Rue Gallery in Seattle on May 7.
Seattle based artist Casey Weldon, first featured in HF Vol. 32, paints colorful and glowing works with nostalgic pop references and a touch of humor. In recent years, his paintings have become increasingly mystical, taking otherwise everyday places and animals and giving them a luminous, candy-colored twist. For his current exhibition at Roq la Rue gallery in Seattle, "Hastemaker", Weldon builds upon his vibrantly colored, dreamlike world. It goes far beyond his "cute-gross" style, as he describes it.

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