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Art

Geometric Portraits Constructed with Reclaimed Wood by ‘Strook’

April 11, 2017

Christopher Jobson

Working with recycled wood doors and paneling pulled from old houses, Belgian artist Stefaan De Croock aka Strook (previously) constructs both large and small-scale geometric portraits. Each piece is designed individually using multiple fragments of cut wood which he mixes and matches to form a sort of color palette. He also creates similar works on canvas.

Strook’s most recent piece was an enormous wooden assemblage for the Crystal Ship, a new art festival in Ostend, Belgium now in its second year. You can see more of his recent work on Instagram. (via Arrested Motion)

 

 



Art

Prismatic Portraits by Lui Ferreyra Form a Collision of Geometry and Color

April 10, 2017

Christopher Jobson

Denver-based artist Lui Ferreyra (previously) has spent the last decade honing a technique that portrays faces, hands, and landscapes as dense fields of geometric color. While evoking a tone that clearly references the digital age, Ferreyra also draws inspiration from artists like Chuck Close and Egon Schiele who famously worked with aspects of pointillism and geometry. Seen here are a collection of drawings and sketches, but he utilizes a similar fragmentary style for oil paintings as well. You can follow Ferreyra on Instagram and see more of his work at William Havu Gallery.

 

 



Art

Monochromatic Portraits Obscured by Colorful Abstract Markings by Guim Tió Zarraluki

April 5, 2017

Kate Sierzputowski

Barcelona-based artist Guim Tió Zarraluki paints pieces tied to memory and how it is obscured over time, covering the faces of his subjects in bright swaths of oil paint. His research as of late has brought him to topics such as how things slip into oblivion or are saved forever on our technological devices, areas which are abstractly displayed within his work.

In his latest series No Name Project, the individuals have minimal lines that mark their faces’, while in Now, Remember swirls and concentric circles take over the entirety of each visage. You can see more of his portraits from past series on his Instagram and Facebook.

 

 



Craft Illustration

New Embroidered Clothes and Portraits by Lisa Smirnova

March 29, 2017

Christopher Jobson

Moscow-based embroidery artist Lisa Smirnova (previously here and here) continues to stitch beautifully rich illustrations of people, capturing the subtle details of eyes, hair, and shadows, thread by thread. Smirnova brings an almost painterly quality to her embroideries that are each infused with bright splashes of color and occasional patchworks of materials. Collected here are a number of pieces from the last year or so, but you can find additional recent projects on Behance.

 

 



Art

Larger-Than-Life Hyperrealistic Portraits Rendered in Graphite and Charcoal by Arinze Stanley

March 23, 2017

Christopher Jobson

Till He Comes, 2017. Progress photo. Graphite and charcoal pencils.

Nigerian artist Arinze Stanley works with graphite and charcoal pencils on large sheets of cartridge paper to render enormous portraits of his subjects. Spending upwards of 200 hours on an artwork, Stanley agonizes over the most minute details of each piece to painstakingly capture reflections of light, droplets of sweat, or tangles of hair.

Where some hyperrealistic artists lean towards idealized perfection, Stanley instead focuses on pure realism, infusing portraits with a raw sense of emotion and drama. The scale of each piece, always slightly larger than life, adds an uncanny three-dimensional aspect.

Stanley recently exhibited work at Omenka Gallery and you can see more of his works (and pieces in progress) on Facebook. (via ARTNAU, Juxtapoz)

Till He Comes, 2017. Progress photo. Graphite and charcoal pencils.

Till He Comes, 2017. Progress photo. Graphite and charcoal pencils.

Till He Comes, 2017. Progress photo. Graphite and charcoal pencils.

INSOMNIA, 2017. 27″ X 42″. Progress photo. Graphite and charcoal pencils on Strathmore 300 Bristol (smooth) paper.

INSOMNIA, 2017. 27″ X 42″. Progress photo. Graphite and charcoal pencils on Strathmore 300 Bristol (smooth) paper.

INSOMNIA, 2017. 27″ X 42″. Progress photo. Graphite and charcoal pencils on Strathmore 300 Bristol (smooth) paper.

Desolation, 2016. Progress photo. Graphite and charcoal pencils.

Desolation, 2016. Graphite and charcoal pencils.

FAMISHED (Disturbia series), 2016. Progress photo.

FAMISHED (Disturbia series), 2016. 26″ x 36″. Graphite and charcoal on Cartridge paper.

Innocence, 2016. 33” X 23.4″. White and black charcoal pencils and graphite pencils on Lambeth Cartridge paper.

 

 



Art Craft History Photography

Found Photographs Embroidered With Colorful Thread by Julie Cockburn

March 12, 2017

Christopher Jobson

“The Conundrum” (2016), hand embroidery on found photograph, all images courtesy of Flowers Gallery London and New York

London-based artist Julie Cockburn transforms vintage photographs by embroidering across their surfaces, adding bright pops of thread to portraits that are either black and white or have faded over time. Using found images from eBay and flea markets, Cockburn obscures the faces of strangers, layering the portraits with multi-colored dots, geometric patterns, or ovals in varying gradients.

Cockburn will exhibit work with The Photographers’ Gallery at The Photography Show presented by AIPAD March 30 through April 2, 2017 on New York City’s Pier 94. You can see more of Cockburn’s embroidered images on her Instagram and Facebook. (via Hyperallergic)

“Quizitive” (2016)

“Honeydew” (2013)

“The Secret” (2012)

“Point of View” (2014)

“The Orthodontist” (2014)

“Viewpoint” (2012)

“Morphine” (2014)

“Troublemaker” (2015)

 

 



Art

Artist Felice House Reimagines Scenes from Classic Western Films with Female Cowboys as Leads

February 27, 2017

Kate Sierzputowski

Julia Dean in “Giant”, 2013. Oil on canvas, 54″ x 68″.

Angered by the gendered division perpetually seen in classic Western films, painter Felice House decided to create her painted series Re-Western. The collection of works are a re-imagining of her favorite Western films cast with female leads instead of the traditional male cowboys, painting females in place of actors such as James Dean, John Wayne, or Clint Eastwood. The women in her paintings are strapped with shotguns riding horses, fiercely looking out onto a deserted plain, and strongly staring into the eyes of the audience clad in plain button-downs and bright red cowboy boots.

“The western movie tradition is so established; so accepted, so mythologized that it spans the globe,” said House to Colossal. “I love the genre, and at the same time when I sit down to watch a Western movie, I start to feel angry. For the most part, the roles in Westerns are totally inaccessible to me.”

Deciding to start a conversation with this frustration, House choose to paint these reimagined Westerns to ask straightforward questions to a society that continuously handed over these roles to males. House seeks to ask what society would be like with this imagined reversal—how would education be changed? What would our reestablished priorities look like with females as the lead role?

Liakesha Dean in “Giant”, 2013. Oil on canvas, 36″ x 48″.

Julia Dean Portrait, 2013. Oil on canvas, 24″x 20″.

“I would argue that in today’s culture portraying women without objectifying them is an intentional and political act,” said House. “The art historical and current cultural norm is to portray women to extol their sexual beauty and to encourage possessiveness. For centuries men have painted images of women for men. Now that women have access to education and training, women are painting women as we see ourselves.”

House uses her female gaze and voice to create strong, female heroes in environments we all know, reestablishing our connection to the well-known historical settings. Working with the idea of a hero, House paints her portraits larger than life. She encourages the viewer to look up and become dwarfed by the women and their power, hoping this change in physical perspective might encourage a change in mental perspective as well.

Several of House’s female portraits are currently in the group exhibition Sight Unseen at Abend Gallery in Denver through March 25. Pieces from her Re-Western series will be included the upcoming exhibition Woman as Warrior at the Zhou B Art Center in Chicago in August. You can see more of her work on her website and Instagram. (via The Creators Project)

Karan and Nanc in Open Range, 2015. Oil on canvas, 36″ x 60″.

Virginia Eastwood in “The Good, the Bad and the Ugly”, 2013. Oil on canvas, 62″ x 80″.

Rebekah Wayne in True Grit (Study), 2014. Oil on canvas, 30″ x 24″.

Krimmie Wayne in “The Searchers”, 2013. Oil on canvas, 60″ x 40″.

Liakesha Cooper in “High Noon”, 2013. Oil on canvas, 36″ x 48″.

Virginia Wayne Portrait, 2013. Oil on canvas, 30″ x 24″.

Stasha Dean in “Giant”, 2013. Oil on canvas, 90″ x 60″.

 

 

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