Sarah Ball’s oil paintings, subtle in their complexity, are intended for the viewer to encounter the portrait’s subject intimately. The practice of physiognomy, or judging the character of a person just from their facial features or expressions, has long been a subject of fascination for the artist. In efforts like her current Anima Mundi show “Themself,” she culls her subjects from historic photographic archives, social media, and beyond. “These source images become a starting point for a methodical process of understanding, assumption and translation, where the aesthetic ‘mask’ and what lies beneath become the focus of engagement,” the gallery says.
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“Ball’s muses are mostly surrounded by muted backgrounds, which engender a profound sense of solitude,” a statement says. “This aspect envelopes delicately rendered passages of oil paint, perhaps detailing the protagonists clothing or hair, often giving emphasis to a defining characteristic of the sitters visual identity. These intrinsic details are captured with intensity, revealing an intimacy combined and juxtaposed with more minimalist elements which reflect a greater sense of absence or disconnect.”
Read more about the show here.Find her site here.
In cartoons, when a character is having a bad day, or particularly depressed, he will have his own small dark cloud following him, often raining and occasionally hitting him with lightning. The more depressed he is, the more it will be just rain, while lightning often indicates an angry mood. The figures and objects in the oil paintings of Toronto based artist 
Following the release of his Fantagraphics book with portraits of all 44 U.S. presidents, illustrator Drew Friedman brings his satirical, “warts-and-all” style to Ohio State University’s Friends of the Libraries Gallery at Billy Ireland Cartoon Library & Museum. In addition to his book illustrations, the exhibition also features his other presidential-themed works over the years, like the magazine cover above.