In Tom French‘s series “Parallax Paintings,” the artist’s fractured, stark approach has stirring effects. The artist limiting his palette adds to the cerebral nature of the work, with figure and abstractions blending in elegant cacophonies. In a statement, the artist’s work is described as looking at a spectrum, rather than a single state of mind.
Using stills from early propaganda films or frontier paintings as a basis, the layered paintings of Joshua Hagler deconstruct our history. Each work goes through several iterations, distorting and removing previous layers to arrive at something new entirely. The explorations become both visceral and introspective in this process.
South African artist Mary Sibande explores race, history, gender, and other social themes, her visceral mixed-media figures constructed from fiberglass, cotton, resin, and other materials. She uses a sculptural representation of herself, Sophie, to also look at her own family’s generational narrative. Her practice also includes photography, integrating the themes of her sculptures and installations.
“A Student’s Dream,” the central oil painting in Mario Moore‘s new show, is inspired by the artist’s recent surgery to remove a benign brain tumor. “Recovery” kicks off at David Klein Gallery in Detroit at the end of the month, and in the show, the artist looks at how African-American men experience recovery from hardship and trauma.
The duo Santissimi, comprised of artists Sara Renzetti and Antonello Serra, use the body to both examine humanity and use its elements for new creations. While the contortions and dissections would supposedly bring expressions of agony, the tranquility of the subjects implies a greater purpose in these explorations.
Amir H. Fallah‘s acrylic paintings are portraits of immigrants in Los Angeles, carrying vibrant, varying textures and obscured figures. His new show at Denny Gallery, “How Far We’ve Come,” collects the latest work in this ongoing series. The show runs through June 17 at the New York City space.