oil painting

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Art

New Surreal Oil Paintings That Subvert Vintage Vacation Photos and Historical Landscapes by Paco Pomet

August 10, 2016

Kate Sierzputowski

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“Adam’s Office” (2016), oil on canvas, 120 x 160 cm

Spanish artist Paco Pomet (previously) references the appearance of vintage vacation photos and vast historical landscapes in his surreal oil paintings, works that offer a subtle humor from their often grayscale palette. By rendering limbs as freakishly elongated tubes and adding touches of neon green and orange, Pomet brings his images of the past into the future, hinting at a post-apocalyptic realm where humans are forced to live beside the radioactive waste that has lead to their bodies’ defects.

Pomet had his third solo exhibition with Richard Heller Gallery in Santa Monica earlier this summer. You can see more of his work on his portfolio site.

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“Childhood” (2016), oil on canvas, 60 x 80 cm

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“The Visitor” (2016), oil on canvas, 120 x 140 cm

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“The Vermilion Case” (2016), oil on canvas, 60 x 80

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“Social” (2016), diptych, oil on canvas, 120 x 180 cm

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“The Landlord” (2016), oil on canvas, 120 x 140 cm

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Art

Memories of Paintings: A Soothing Technicolor Mix of Paint, Oil, Milk and Liquid Soap

March 31, 2016

Christopher Jobson

Here’s a new experimental short titled Memories of Paintings from director Thomas Blanchard (previously) who continues to experiment with colorful paint, oil, milk, and liquid soap filmed with a macro lens as it mixes and cascades in front of the camera. I could watch footage like this forever.

 

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Art

Vibrant Oil Finger Paintings by Iris Scott

March 10, 2016

Christopher Jobson

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Brooklyn-based painter Iris Scott (previously) eschews brushes and palette knives in favor of using the most traditional art tools of all time: her fingers. Her color-saturated canvases of thick oil paint capture shaking wet dogs, dreamy urban cityscapes, and serene outdoor scenes. “There’s nothing between me and the paint, I feel all the tiny nuances,” says Scott. “I can manipulate thick paint with my fingers in ways brushes never could.” The physicality of using her digits brings a unique sense of motion to each piece and when coupled with nearly 100 colors for a single artwork, it’s no surprise to discover how entrancing each canvas becomes.

Scott has original works available through Adelman Fine Art and at UGallery and you can follow her works in progress on Facebook and Instagram. She also just published an instructional book titled A Finger Painting Weekend.

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Art

The Soft, Memory-Laden Oil Paintings of Joshua Flint

December 29, 2015

Kate Sierzputowski

Migration | oil on wood panel | 30" x 30"

Migration | oil on wood panel | 30″ x 30″

The oil paintings of Joshua Flint look like depictions of memories when one tries too hard to access the faded thoughts—worn corners, blurred faces, and transposed scenes that don’t quite make sense. Each work has a familiar element that seems to be cast in a dark and foreboding haze like Sandcastles, a dark painting that disguises whether the included children are building or destroying the miniature city that lies before them.

“There is a dynamic interplay between experience and interpretation,” says Flint about his work. “What is remembered isn’t necessarily descriptive of the actual event. Once the experience has passed through our emotional filter we assign meaning to it, changing the actualities. My paintings explore that place in-between a direct translation and the abstract of emotion.”

Flint has a current exhibition titled “The World Between” at Sumter County Gallery of Art in Sumter, South Carolina which continues until January 8, 2016. You can see more of his oil paintings and in-process sketches on his Instagram here. (via Booooooom)

Memory Palace | oil on wood panel | 24" x 24"

Memory Palace | oil on wood panel | 24″ x 24″

The Banquet | oil on canvas | 48" x 60"

The Banquet | oil on canvas | 48″ x 60″

They Feed the Earth | Oil on Canvas | 48" x 48"

They Feed the Earth | Oil on Canvas | 48″ x 48″

Mapping a Galaxy | oil on wood panel | 30" x 30"

Mapping a Galaxy | oil on wood panel | 30″ x 30″

Bright Reflections | Oil on Wood | 24" x 24"

Bright Reflections | Oil on Wood | 24″ x 24″

The Wide Arena of Air | oil on wood panel | 36" x 36"

The Wide Arena of Air | oil on wood panel | 36″ x 36″

Sandcastles | oil on canvas | 48" x 48"

Sandcastles | oil on canvas | 48″ x 48″

 

 



Art

Michael Kagan’s Space-Based Paintings Explore the Fatalistic Power of Manmade Machinery

August 25, 2015

Kate Sierzputowski

Contact Light, 2014, Oil and linen, 60 x 45 inches

Contact Light, 2014, Oil and linen, 60 x 45 inches

Heavily tinted blue paintings form space stations, spacesuits, and rockets just after blast. Michael Kagan paints these large-scale works to celebrate the man-made object—machinery that both protects and holds the possibility of instantly killing those that operate the equipment from the inside. To paint the large works, Kagan utilizes an impasto technique with thick strokes that are deliberate and unique, showing an aggression in his application of oil paint on linen.

The New York-based artist focuses on iconic images in his practice, switching back and forth between abstract and representational styles. “The painting is finished when it can fall apart and come back together depending on how it is read and the closeness to the work,” said Kagan about his work. “Each painting is an image, a snapshot, a flash moment, a quick read that is locked into memory by the iconic silhouettes.”

Kagan exhibited this series of space-based paintings last year at Joshua Liner Gallery in an exhibition titled Thunder in the Distance. He was also recently commissioned by The Smithsonian to create three large paintings inspired by their air and space archives. You can see more of his work on his Instagram here. (via Fubiz)

One Day This Will All Be Yours, 2014, Oil and linen, 60 x 80 inches

One Day This Will All Be Yours, 2014, Oil and linen, 60 x 80 inches

Reflector, 2014, Oil and linen, 36 x 36 inches

Reflector, 2014, Oil and linen, 36 x 36 inches

We Live On In The Thoughts Of Others, 2014, Oil and linen, 36 x 36 inches

We Live On In The Thoughts Of Others, 2014, Oil and linen, 36 x 36 inches

Apollo, 2010, Oil and linen, 60 x 34 inches

Apollo, 2010, Oil and linen, 60 x 34 inches

Supersonic, 2014, Oil and linen, 72 x 54 inches

Supersonic, 2014, Oil and linen, 72 x 54 inches

Mankind, 2014, Oil and linen, 96 x 54 inches

Mankind, 2014, Oil and linen, 96 x 54 inches

With All The F*cking Force, 2011, Oil and linen, 60 x 80 inches

With All The Fucking Force, 2011, Oil and linen, 60 x 80 inches

 

 



Art

Nathan Walsh’s Unusual Urban Landscapes Painted Atop Precise Graphite Sketches

July 21, 2015

Christopher Jobson

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Trying to pin down exactly what makes these urban landscape paintings by British artist Nathan Walsh (previously) so unusual is difficult, in part because of the variety of techniques he employs to get from a vision in his mind to the final, exacting artwork.

Starting with his own photographic references, Walsh first draws an elaborate blueprint of sorts by establishing a horizon line and a host of perspective strategies that varies from piece to piece. This is followed by several months of painting with oils to achieve the final landscape that appears to be a strange hybrid of both illustrative and photorealistic styles. Photography, architecture, and painting converge to create a “painted world which in some ways resembles the world we live in,” says Walsh. “The work aims to create credible and convincing space which whilst making reference to our world, displays its own distinct logic.”

Walsh is currently preparing for a group show titled “Cityscape Paintings: Looking from the Outside In” at Bernarducci Meisel Gallery in October, followed by a solo show during the same period in 2016. You can follow more of his work in progress on Facebook.

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