Sometimes, massive leeches are simply just that: massive, gross, disconcerting leeches. Melbourne-based artist Beau White crafts oil paintings that may appall or at the very least, unsettle viewers. But he says that his love of “illustrating absurd, grotesque and distastefully humorous images” goes way back to his primary school days. But in general, there aren’t lofty statements to be made in these works.
“There is nothing particularly philosophical about my art in the conceptual sense,” White says, in a statement. “There are themes and narratives that are relatively simple and obvious, with the main focus being on the ridiculous. I don’t have a grand vision or statement I want to make through art, I just want to draw and paint silliness and weirdness in various forms for my own gratification and anyone else with similar inclinations. Although I steer away from taking the subject matter in my work too seriously, I do spend a serious amount of time, consideration and mental exertion on my creative process. That’s where I derive the most meaning in my art: in the doing, not the discussion that follows.”
It’s still fun to attempt to create a viewer’s own narrative from his images of massive leeches and grotesque situations. Even if in the end, the act of creating was where the demons are exercised.
Prague artist 
Spanish artist Ivana Flores crafts pop-surrealist oil paintings with both a childlike sense of whimsy and ominous undertones. At grand sizes, the works carry an absorbing quality that pulls you into her worlds. Her work has been described as “reality, dream, everyday life and imagination merge at a turning point of boundless consciousness of self-image and world.”
Russian artist Dimitry Vorsin creates beguiling surrealist worlds populated with mystifying and erotic characters. Drawing influence from Salvador Dali, his figures are often elongated and with decapitated limbs. For example, one arm of a woman in a running pose morphs into what appears as a rat’s tail. The other is shown in a puppet-like construction, controlled by small nymphs wearing tall spiraling headwraps that match the woman’s own grandiose headware. The sexually fraught image suggests the power of the psyche to serve as a symbolic whip.
At once lush and eerie, Sarah Slappey's oil paintings offer vague limbs and organs against natural environments. Of her distinct visual language, she’s said “I wanted to build a world from the bottom up.” The South Carolina native, now residing in Brooklyn, New York, has recently shown these scenes at venues in New York City and Switzerland.