hyperrealism

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Art

Chrome Faces Protrude from Drippy, Graffiti Backdrops in Hyperrealistic Paintings by Artist Kip Omolade

September 28, 2020

Grace Ebert

“Luxury Graffiti Kace I,” oil, spray paint and acrylic on canvas, 36 x 48 inches. All images © Kip Omolade, shared with permission

Set on a graffitied backdrop, the chrome masks Kip Omolade (previously) paints appear to emerge from the canvas, jutting out from the vibrant display to confront the viewer. The Harlem-born artist layers dripping colors and typographic markings that contrast the smooth, gleaming faces protruding from the center for his new series Masks: Portraits of Times Square and Luxury Graffiti, which he completed in the wake of the COVID-19 pandemic. In a statement, he explains the history of the collection:

In New York City during the ’80s, my tag was ‘Kace’ and I would ‘get up’ on MTA subway car interiors, public walls in Brooklyn, and graffiti black books. Throughout the ’90s, I never stopped tagging. Even when I was painting from life, I was still tagging here and there in random spaces. Years later, I produced a real-life ‘Kace’—when my twin sons were born, I named them Kent and Kace. The ‘Kace’ tags in these paintings reference NYC subway ‘bombing’ of the ’80s, but mostly it’s about legacy. I want my work to represent our shared experiences of the past, present, and future.

Omolade’s process includes sculpting a resin mold of a chosen subject, which he then covers with chrome and uses as a reference for his hyperrealistic portraits. Many of the masks are reflective, revealing a hidden landscape. In Omolade’s self-portrait (shown below), an American flag in the shape of a bullseye marks his forehead, a nod to racial injustices in the United States.

To see more of Omolade’s works, check out his virtual solo show at Jonathan LeVine Projects through October 4 and head to his Instagram.

 

“Luxury Graffiti Self-Portrait (COVID-19),” oil on canvas, 36 x 48 inches

“Luxury Graffiti Kent I,” oil on canvas, 36 x 48 inches

“Luxury Graffiti Kent I,” oil on canvas, 36 x 48 inches

“American Love,” oil on canvas, 36 x 48 inches

“Red Stare,” oil on canvas, 36 x 48 inches

 

 



Art

Hyperrealistic Portraits by Artist Arinze Stanley Reflect the Emotions of Black Experiences

September 19, 2020

Grace Ebert

“Mindless #3.” All images © Arinze Stanley, courtesy of Corey Helford Gallery, shared with permission

Arinze Stanley describes his hyperrealistic drawings as “a simple language of my feelings.” In a statement about his new series titled Paranormal Portraits, the Nigerian artist (previously) says he uses his art as a form of political activism and as a way to amplify the voices of those who are unheard. Stanley notes that the relationships he fosters with his subjects are complicated and more often a reflection of himself:

In my opinion, artists are custodians of time and reality, hence why I try to inform the future about the reality of today, and through these surreal portraits seen in my new body of work, Paranormal Portraits, navigate my viewers into what is almost a psychedelic and uncertain experience of being Black in the 21st Century.

Using graphite and charcoal pencils, Stanley draws with such detail, capturing a stray hair or glimmer of beading sweat. Whether featuring a subject wrapped in hands or dripping in paint, the monochromatic portraits are intimate, expressive, and “born out of the zeal for perfection both in skill, expression, and devotion to create positive changes in the world. I draw inspiration from life experiences and basically everything that sparks a feeling of necessity,” Stanley says.

If you’re in Los Angeles, Stanley’s work will be on view at Corey Helford Gallery starting October 3. Otherwise, head to Instagram and check out this video from Great Big Story capturing his deftly rendered artworks.

 

“The Machine Man #7”

Left: “People and Paper #1.” Right: “The Machine Man #6″

“Paranormal Portrait #3”

 

 



Art

Powerful and Emotive, Artist Patrick Onyekwere's Hyperrealistic Portraits Are Rendered Meticulously in Ballpoint Pen

July 16, 2020

Grace Ebert

All images © Patrick Onyekwere, shared with permission

Patrick Onyekwere imbues his photorealistic portraits with layers of emotion. Before sketching with blue, ballpoint pen, the Nigerian artist invites his subjects into a conversation about their lives, contemporary culture, and nature to establish the mood or story he’s hoping to convey. Their responses produce a collaborative endeavor that organically merges their perspectives and histories, which the artist translates to his artworks.

Onyekwere collects a few snapshots of his subject for reference as he meticulously shades and crosshatches every inch of his hyperrealistic pieces. The artist sees his powerful renderings as “speaking for those who can’t speak for themselves” and finds the subjects’ eyes most interesting. “They mirror some of our deepest desires, fears, inhibitions, perceptions, thoughts, most of which we ourselves are consciously unaware of,” he says. “(The eyes have) the power to convey emotions and feelings and also communicate and connect to the viewer, inviting them to live in an untold story, in such a way they don’t see an already existing piece but take part in the creation of it.”

To see Onyekwere’s portraits-in-progress and follow more of his expressive works, follow him on Instagram and YouTube.

 

 

 



Art

Fringed Rugs Bulge and Fold in Illusory Paintings by Artist Antonio Santín

June 9, 2020

Grace Ebert

All images © Antonio Santín, shared with permission

Madrid-based artist Antonio Santín paints hyperrealistic depictions of ornate rugs that appear to billow and crease on the feet-long canvases. Complete with intricate motifs and fringed edging, the works feature thousands of textured dots, spirals, and complex arrangements made with oil paint that mimic the organic and geometric designs found on carpets.

Whereas many of the artist’s previous projects have focused on multi-colored patterns, he’s turning to monochromatic pieces with a focus on “sculptural relief that goes beyond the feeling of embroidery,” which has altered his process.

To achieve this level of intricacy, I now use pneumatic machinery. When compressed air pushes the oil paint inside a cartridge, a thin thread gets out of a fine tip. By controlling the speed of the output and the way it’s applied on the canvas, it is possible to shape oil paint into complex filigrees. Later, I apply a dark oil paint glazing, which not only produces the chiaroscuro that creates the trompe l’oeil, it also serves as a patina that highlights all the sculptural relief in the painting.

Some of Santín’s illusory pieces are on view at the Nassau County Museum of Art in New York, although it currently is closed due to COVID-19 restrictions, and the artist is preparing for a solo show at Galerie ISA in Mumbai in January 2021. To follow his heavily detailed work, head to Instagram.

 

“Elevator Pitch” (2019), oil on canvas, 60 x 78.8 inches

Left: “Toast to Ashes” (2020), oil on canvas, 59 x 84.6 inches. Right:

“Música Ligera” (2020), oil on canvas, 35.4 x 45.3 inches

 

 



Art

Chrome Face Masks and Hyperrealistic Oil Portraits by Kip Omolade

August 17, 2019

Andrew LaSane

Diovadiova Chrome Karyn X, Oil on canvas, 48 x 48 in. All images via Kip Omolade

Brooklyn-based artist Kip Omolade (previously) uses molding, casting, and painting techniques to create detailed masks and large-scale hyperrealistic portraits. Contrasted against vibrant backgrounds, each chrome face appears to rise from the canvas to meet the viewer. Continuing his Diovadiova Chrome series, Omolade’s recent work explores form, connections, and the basics of what makes us human.

Since we last featured his work in 2017, Kip Omolade’s portraits have evolved to include more than one subject. “In my paintings, I previously presented each mask as a singular portrait,” he told Colossal. “In my current work, the faces are now interacting with each other. They are arranged together on large canvases measuring 13-15 feet long. The masks have become mythological characters having conversations about humanity. I see them as deities pondering age old questions about birth, life, death, identity and love.”

He has also included his three children in his work for the first time. Their portraits, titled Diovadiova Chrome Triumph after a Wu-Tang song, represent “life’s ability to survive despite environmental and societal hardships. Reflections of Times Square New York City are captured within their portraits. In a seemingly eternal sleep, they are depicted with their eyes closed…still innocent to the world.”

Kip Omolade is opening a pop-up art show in New York City on September 9. Titled The Diovadiova – Avoid a Void, the show will be open to the public at 520 West 23rd Street. For more upcoming event news and progress shots of his work, give the artist a follow on Instagram.

Diovadiova Chrome Triumph work in progress

Diovadiova Chrome Triumph work in progress

Diovadiova Chrome Kip Triptych III detail, Oil on canvas, 74 x 36 in

Diovadiova Chrome Diana IV, Oil on canvas, 36 x 48 in

Diovadiova Chrome Trinity, Oil on canvas, 120 x 186 in

Diovadiova Chrome Tribunal work in progress

Diovadiova Chrome Tribunal, Oil on canvas, 120.5 x 156.5 in

Diovadiova Chrome Joyce IV detail, Oil on canvas, 72 x 34 in

Diovadiova Chrome Kip Triptych I detail, Oil on canvas, 74 x 36 in

Profiled in the video below by filmmaker Jesse Brass (previously), Omolade speaks about immortality, form, universal beauty, and what it means to be a diva.

 

 



Art

Animals Evolve into Islands Teeming With Coral, Succulents, and Tropical Fish in Hyperrealist Paintings by Lisa Ericson

August 8, 2019

Kate Sierzputowski

“Anchor,” 20”x24”, Acrylic on panel

Lisa Ericson (previously) deftly paints animals in scenes that reach outside of their natural environments, creating unique relationships that defy the natural order of the animal kingdom. In her newest series a deer, flamingo, and multiple turtles form miniature ecosystems in glassy blue water. Coral sprouts from the hooves and legs of the two larger creatures, while brilliant flowers and butterflies surround the smaller turtles. These paintings are featured in Ericson’s current exhibition Islands, which runs through August 25, 2019 at Antler Gallery in Portland, Oregon. You can see more of her beautifully rendered plants and animals on Instagram.

“Pollinate,” 16”x16”, Acrylic on panel

Detail of “Pollinate,” 16”x16”, Acrylic on panel

Detail of “Pollinate,” 16”x16”, Acrylic on panel

“Bleach,” 16”x20”, Acrylic on panel, all images via Antler Gallery

“Harvest,” 20”x24”, Acrylic on panel

“Pollinate II,” 16”x16”, Acrylic on panel