Serge Gay Jr.’s new monochromatic acrylic paintings reckon with American history and the voices long suppressed. In a new show at Art Attack SF, running Feb. 6-March 3, his new body of work is shown. “There’s a common belief of living in a world that is black and white; however there many shades of gray … and sometimes a bit of color,” the artist says.
Raija Jokinen reassembles aspects of the human bodies with flax. The Finnish artist interweaves creatures and notes of nature into her recreations of our interior. Jokinen considers her work to exist at the “meeting point of the techniques in painting, graphic art, hand made paper and textile.”
Whether as still portraits or in motion, the mutants and forms created by Erik Ferguson are disconcerting in their realistic textures. The artist moves between high-profile and personal project, working on the likes of Guardians of the Galaxy and live performances for Rihanna. With assignments like album artwork for The Horrors, the artist’s own sensibilities come through even more.
Riccardo Mayr carefully adds elements and characters from the Star Wars franchise to original oil paintings from the 17th and 18th centuries. A new show, “Religious Paintings of the Expanded Galaxy,” collects these works at Gallery 30 South in Pasadena. The gallery says one goal is to “present religious faith and ethics in a post-modern paradigm largely embedded in fictional reality through a multi-generational exposure and fascination with successful science fiction movies.”
Max Guther, a 25-year-old illustrator living in Germany, Guther creates “digital collages by transforming photographic material, textures and self-constructed objects.” The artist uses a top-down perspective reminiscent of computer games of yesterday, offering both a voyeuristic and broad point of view. In a series of illustrations titled “The Goodlife,” Guther explores the balance of relaxation, work, and “social environment.”
Meredith Dittmar, a sculptor living Portland, uses polymer clay to create intricate structures that draw lines between technology, biology, and our own consciousness. Hidden within geometric shapes, vanishing lines, and architecture, simulations of the familiar emerge, like faces and hands. Depending on how the viewer focuses and chooses to be present, new aspects of the work are revealed. Dittmar was last featured on HiFructose.com here.