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Art
Architectural Silhouettes Play With Perspective in Patrick Akpojotor’s Fragmented Portraits

“The Gaze” (2021), acrylic on canvas, 48 x 36 inches. All images © Patrick Akpojotor, shared with permission
Combining a love for African masks and the people and buildings of his hometown of Lagos, Nigeria, Patrick Akpojotor (previously) merges the figurative details of faces, shoulders, and arms with the geometric forms of hallways, doors, and staircases. “My surface becomes a playground where forms, colours, perspective, and space comes to play and interact,” he says in a statement. “The use of geometry and architectural elements highlight the influence of the built environment in shaping our memories, experiences, and identities in the world.”
Akpojotor draws on the art historical legacies of Cubist painters who devised a way of breaking up the picture plane into “cubes” or fragments to show multiple sides of an object or figure at the same time. His compositions utilize skewed perspectives, contrast, and color to explore the dynamic relationship between internal and external human experiences, paralleling the interiors and exteriors of architectural spaces and the transformative ways we move between them. He has recently experimented with sculpture, producing steel forms of abstracted arches and steps.
Akpojotor is currently preparing work for a solo exhibition at Allouche Gallery in September. Find more of his work on his website and Instagram.

“Oga boss” (2020), acrylic on canvas, 48 x 36 inches

Left: “Gaze to The Beautiful Sunlight (i)” (2022), acrylic on canvas, 195.5 x 152.5 centimeters. Right: “Terracotta wall” (2022), Autobase coated steel, 51 x2 3.5 x 19 centimeters

“Within Time and Space in History (ii)” (2022), acrylic on canvas, 195.5 x 152.5 centimeters

“GIRL WITH RED RIBBON V (Reproduced)” (2022)

Left: “Meeting Point” (2022), Autobase coated steel, 40 x 46 x 25 centimeters. Right: “Step to The Infinite (iii)” (2022), acrylic on canvas, 122 x 91 centimeters

“Man of Influence III” (2022), acrylic on canvas, 77 x 60 inches

“Witness to the Times II” (2021), acrylic on canvas, 122 x 91.5 centimeters
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Art
Architecture and Bold Geometry Fragment Cubist Portraits by Patrick Akpojotor

“FELA” (2019), acrylic on canvas, 48 x 36 inches. All images © Patrick Akpojotor, shared with permission
In his architectural portraits, Patrick Akpojotor visualizes the exchange between humans and their built environments, whether real or imagined. The artist’s spatial body of work, which explicitly contemplates the relationship between interiority and exteriority, is founded in his childhood in Lagos, a city checkered with traditional, colonial, and contemporary structures where he still lives today. “I saw how a former residential area became a commercial one changing how people interacted with that community,” he says.
Rendered in bold blocks of acrylic, Akpojotor’s paintings encourage introspection as they consider how identities inform the design of single buildings and infrastructure, which in turn shape the people who occupy those spaces. The anthropomorphic structures evoke cubist geometry and illusion, fracturing the body with a staircase, brick chimney, or entire house, and some works shown here, including both “In Memory of the Living” pieces, are self-portraits.
Beyond his surroundings in Nigeria, Akpojotor derives inspiration from ancient African sculptures and masks, particularly “the way the forms are intentionally distorted to pass messages and symbols of their (beliefs),” he shares. “In my work, the way object(s) are placed does not matter. What is important is that the object(s) are represented, and the message is passed.”
Find a collection of Akpojotor’s paintings, drawings, and sculptures on his site, in addition to studio shots and glimpses at works-in-progress on Instagram. (via Juxtapoz)

“In Memory of the Living I” (2019), acrylic on canvas, 48 x 36 inches

Left: “In my Image” (2020), acrylic on canvas, 96 x 63 inches. Right: “Oga Boss” (2020), acrylic on canvas, 48 x 36 inches

“Girl with Red Ribbon” (2021), acrylic on canvas, 48 x 36 inches

Left: “Witness to the times” (2020), acrylic on canvas, 48 x 36 inches. Right: “Time” (2019), acrylic on canvas, 48 x 36 inches

“In Memory of the Living II” (2019), acrylic on canvas, 48 x 36 inches
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Art
Picasso-Inspired Portrait Sculptures Rendered by Digital Artist Omar Aqil

All images © Omar Aqil
Pakistan-based art director and illustrator Omar Aqil (previously) continues his Character Illustrations series with more collaged portraits made from stacks of 3D objects. Using digital software including Adobe Photoshop, Cinema 4D, Octane, and Adobe Illustrator, Aqil creates Picasso-esque faces and places them into random, casual scenes.
The shadows, highlights, and colors make Aqil’s rendered sculptures and plinths appear as built-objects in a physical location. Implied facial features give each character a personality that is helped by humorous expressions and mundane scenarios. “Making this series I have explored the new simplicity of shapes and forms to make a character’s inner expression which told the whole story,” Aqil writes on Behance. He adds the while the main sources of inspiration for the experimental project are Picasso’s portraits, the work also is inspired by random situations that he and other designers face.
To see more of Aqil’s portraits, check out the illustrator’s portfolio on Behance and follow him on Instagram.
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Art
Life’s Sublime Moments Unearthed in Cubist Paintings by Connor Addison

“Innocence Lost” (2020), oil on linen,172 x 94 centimeters. All images © Connor Addison
Barcelona-based painter and photographer Connor Addison situates his recent series of oil paintings within the context of philosopher Edmund Burke’s theory of the sublime. That notion is based on the idea that “whatever is in any sort terrible or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.” Aptly titled Sublime Affliction, Addison’s works often feature one or two people lying or sitting still, their expressions conveyed by the shaded geometric shapes that form their fragmented faces and bodies. “Brother & Sally” even expresses the bond between species, portraying a man with his arm slung over a sleeping dog.
Employing muted reds and blues, the artist’s angular paintings explore the human emotions inspired by art, love, and relationships. “Sublimity comes from somewhere beyond, or deeper than immediate sensation—it cannot be literally visualized,” he says of the project. “Thus, figures in the Sublime Affliction series interact with mysterious overbearing entities, sources of sublime power, fear and anxiety.” To keep up with Addison affective pieces, follow him on Instagram. (via Booooooom)

“Innocence Lost” (2020), oil on linen,172 x 94 centimeters

“Luke II (After Yves Klein)” (2016), oil on linen, 50 x 70 centimeters

“Objects of Desire (After Laurence Weiner)” (2016), oil on linen, 196 x 196 centimeters

“Luke I” (2014″, oil on linen, 50 x 70 centimeters

“Brother & Sally” (2012), oil on linen, 140 x 100 centimeters

“Untitled (Reina Sofía, After Richard Serra)” (2019), oil on linen, 100 x 81 centimeters
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Art Design
Picasso Portraits Reimagined as Glossy Digital Sculptures by Omar Aqil
For his series Character Illustrations, the art director and illustrator Omar Aqil (previously) uses Pablo Picasso’s painted portraits to inspire digital recreations. Aqil mirrors the artist’s Cubist style by collaging discrete metallic and glossy objects together in the shape of human or animals faces. The Pakistan-based digital artist also references specific works by Picasso in his ongoing series MIMIC, in which he creates futuristic garments and sculptures mixed with elements of interior design. You can see more of his digital musings inspired by famous painters and art historical movements on Instagram and Behance.
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Art
New Paintings Which Combine Cubist and Realist Elements by ‘Belin’
Spanish artist Miguel Ángel Belinchón or “Belin” (previously) has long practiced photorealistic murals. It was in 2016 however, that his work began to mutate with the adoption of a cubist style, elongating his subjects’ necks and segmenting their faces in ways that would make Picasso himself proud. Despite the distorted facial features, many of his new works feature recognizable subjects. Belin’s paintings honor some of his great inspirations, displaying the likenesses of painters such as Frida Kahlo, Keith Haring, and Dali, alongside famous subjects such as the Mona Lisa.
Belin’s current solo exhibition is named after his self-created style, Post Neo Cubism, which can be seen at Paris-based 24 Beaubourg through June 25, 2017. You can see more of Belin’s stylistic mash-ups on his website and Instagram. (via Juxtapoz and Arrested Motion)
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