After three years, Pat Perry has finished a series that represents another major shift for the painter. With the upcoming exhibition “National Lilypond Songs” at Urban Institute for Contemporary Arts in Michigan, he shows this new body of work that offers both reflective and piercing moments against quiet landscapes. Perry was featured in Hi-Fructose Vol. 35, in a feature that talks about the artist’s journalist-like approach to his work.
Colorado-born artist David Rice creates stirring acrylic paintings that blend the figurative, abstraction, and notes from nature. His recent work “pushes the limits and boundaries of the physical world through his imagery,” a statement says. Rice was last mentioned on HiFructose.com here.
Michelle Avery Konczyk’s riveting watercolor paintings offer surreal, intimate portraits. With the artist’s custom framing for each work, each work functions as a gateway to the artist’s explorations. The artist’s new show, “Les Fleurs” at Arch Enemy Arts, offers her most recent work and runs through June 28. The artist was last featured on HiFructose.com.
Taylor White‘s vibrant, mixed-media explorations of form and movement evolve in the artist’s newest show, “Physical Phenomena,” running through June 30 at ABV Gallery in Atlanta. White says her latest work “builds upon the universally recognizable visual language of movement” and that she is inspired by the dance community of the North Carolina cities Raleigh and Durham. White was last mentioned on HiFructose.com here.
Using transparent cloths clad to the canvas, painter Pavel Gempler creates a “second skin, through which the lower pictorial layers shine through and create an irritating doubling,” the artist says. The result is both captivating and creates a pixelated effect to his works, which then carry photograph-like benefits of the light.
Jim Shaw‘s paintings are striking fusions of pop culture, political histories, and found, scenic backdrops. The artist’s varied approach has evolved over decades, with his recent work working with acrylics layered on muslin. Some of the works implement “theatrical scenic backdrops” purchased by Shaw, combining canvases from the 1940s and 1950s and his own style.