Ghanaian artist Jeremiah Quarshie finds the inspiration for his paintings in his immediate environment. Living and working in Accra, the capital of Ghana, his highly realistic acrylic portraits depict models, typically ordinary women, in roles of beauty queens, businesswomen, and laborers alike. In his own words, the people in his portraits are characters representing the “foundations of society into pools of utter elegance”, 21st century workers and fictional women.
Working from original photographs taken in his studio, Quarshie further describes his work as a combination between reality and fantasy or his imagination: “Staged photographs on occasion serve as complete works of art. Some of these photographs are created by superimposing Ghanaian elements on other non Ghanaian contexts creating rather unusual situations in very unique ways.”
“Yellow is the Colour of Water” is the title of Quarshie’s new body of work, portraits which address “broader questions of hope in failing political systems.” He explains, “Rituals are often associated with commerce, social status, social problems, fashion and technology. Ironical contexts can be seen when one singles out an everyday practice. The contexts are usually found in everyday Ghanaian life.” His solo show “Yellow is the Colour of Water” will open at Gallery 1957, Accra, on August 18th.
What does it mean to be "normal"? Normality is different to different people, generally applying to what is considered acceptable and not out of the ordinary. To Los Angeles based artist 
Sebastián Gutiérrez crafts two-layered portraits that reveal something less elegant beneath the surface. This particular series from the Puerto Rican artist, titled “Inner Beauty,” is a study in contrast. A statement says that “though his main medium is oil paint, its usually presented on everyday items such as doors, rugs, windows or toys; he wants to give the spectator an instant sense of familiarity.”
Toilet paper, keys, pills, and dice are just a few of the every day subjects that Chinese artist Chen Wenbo depicts in his larger than life, hyper-realistic paintings. Chen once explained that he is most interested "in the surface of things", something he explores in his exaggeration of small details. His subjects almost feel important in their massive scale, which allows us to appreciate details like their vibrant colors that would otherwise be overlooked. Most of Chen's works are irregularly shaped, distorted or fractured in a way that looks like broken glass. His latest body of work draws upon the theme of the "Fat Years", inspired by the Chinese dystopian thriller written by Chan Koonchung.