Menu
The New Contemporary Art Magazine

Kevin Peterson Returns to Thinkspace with ‘Wild’

In Kevin Peterson’s new show at Thinkspace Projects, child subjects are paired with sentient animals, unlikely castaways against desolate urban backdrops. "Wild," collecting new vivid paintings from the artist, show these subjects “interchangeably as beacons of hope and symbols of dispossession.” The show runs March 2 through March 23. (Peterson was last featured on HiFructose.com here.)

In Kevin Peterson’s new show at Thinkspace Projects, child subjects are paired with sentient animals, unlikely castaways against desolate urban backdrops. “Wild,” collecting new vivid paintings from the artist, show these subjects “interchangeably as beacons of hope and symbols of dispossession.” The show runs March 2 through March 23. (Peterson was last featured on HiFructose.com here.)

“In spite of seemingly bleak, if not potentially catastrophic, circumstances, the isolated child protagonists in Peterson’s works, bereft amidst modern-day ruins save for the companionship of their wild, bestial cohort, are calm, peaceful, and strangely emancipated,” Thinkspace says. “A feeling of persistence and salvage dominate these visual metaphors for human survival; life, in the end, persists in its way and under the most iniquitous and impossible conditions.”

See more works from the show below.

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles
Idyllic paintings of daily life set centuries ago are spliced with a dystopian sci-fi fantasy in German artist Jakub Rozalski's work. Nostalgic elements clash with futuristic ones as giant robots invade the European countryside. Soldiers, armed with rifles and on horseback, are powerless against the mechanical beasts. Unlike much sci-fi inspired work, Rozalski's paintings have a painterly quality to them that evokes the loose expressiveness of Impressionism. He convincingly inserts the robots into scenes that would otherwise appear straight out of the late 19th or early 20th century, inviting viewers to imagine a starkly different version of history than the one we know today.
he glass figurines in Lola Gil’s latest work are essentially still lifes. She owns each one, treasures each one. Holds and manipulates them to understand their qualities, their quirks. She depicts everything about them except her own fingerprints on their surface Read all about Lola Gil by clicking above.
Something interesting happens when when artists like Alan and Carolynda Macdonald, who have the painting fundamentals mastered, decide to subvert expectations and perplex a viewers expectations conceptually. Click to read the Hi-Fructose exclusive interview.
Frenchman Lou Ros is self-taught and he used to tag walls. You can see both in his work. He didn’t learn the academic tradition and then proceed to tear it down. He works from photographs; he wants to paint stills from films. Photographs and still shots capture moments in flux. That’s what Ros does. He paints until he finds the feeling he seeks or else discovers. Then he finishes. It doesn’t matter whether the work itself is academically done. What matters is that he’s done. He works rapidly, in short bursts of energy. That’s the tagger’s MO. In and out, say what you have to say, clear and simple, before the flics arrive.

Subscribe to the Hi-Fructose Mailing List