Japanese manga artist Junko Mizuno depicts the “Seven Lucky Gods,” a once-disparate group of deities that became a unit through Japanese art history, in a new show at Alhambra, Calif.’s Gallery Nucleus. Although not traditionally this way, “Takarabune” transforms all of these gods of fortune into women, translated in Mizuno’s vibrant style. The show runs through Jan. 8 at the gallery. Mizuno was last featured on HiFructose.com here.
A release from the gallery speaks to how the gods have evolved over the years: “During the course of its history, the mutual influence between gods has created confusion about which of them was the patron of certain professions. The worship of this group of gods is also due to the importance of the number seven in Japan, which is supposedly a bearer of good luck.”
The Dec. 17 opening of exhibition featured dresses and accessories that took influence from Junko’s work, as well as Shamisen and Taiko musicians and burlesque dancers, speaking to the amalgamation that is the artist’s own craft. Mizuno, as an author, is behind several graphic novels that remix classic fables and mythology, from Cinderella to the Little Mermaid. Aside from also producing personal gallery work, her reach extends to designs in the high-end sphere of fashion.
Jamian Juliano-Villani, known for stirring acrylic paintings packed with dark humor and sprawling references, offers new works in a show at Massimo De Carlo London titled "Let's Kill Nicole." She offers both new paintings and sculptures in the display, which runs through Sept. 21. Juliano-Villani's work is known for pulling in a variety of familiar imagery from fashion, illustration, and other industries, with conversations emerging over what constitutes referencing versus appropriation. “Everything is a reference,” she’s insisted.
Jérémy Demester’s paintings carry both vivid movement and spontaneity. In his current show at 
With “Dark Matter,” 
There’s a shapeshifting quality to the paintings Ricardo Estrada, whose subjects are physically inhabited by cultural iconography. The Los Angeles native specifically focuses on Chicano culture, whether in his murals or acrylic paintings. Each carries intricate brushwork that allows Estrada to transition between differing textures and planes of reality.