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Isn’t it meant to be nature’s wool sweater i.e heat conservation? As an ode to getting furry again, here are some works that let things grow and hang.
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Fukuko's objects are totally non-functional, but in that way, functional in their own worlds. She doesn't try to hide or elevate the textures of cheap, common materials like cardboards, cupcake papers, and loofahs. If anything, her contraptions amplify original materials with bright colors and patterns like seeing an onion flowering for the first time.
Darryl is a classicist and polygot who brings his patience and virtue of slowness into art. His "classical" style is one tool for studying how the tiniest details of the human body conveys the person's reality and history. That's why, Darryl says, he is able to find resonances between his own life and imageries from Ancient Greece that existed many millenia ago: his favorites include Dionysian myth, violence, and wine.
If there was ever a rave held in the Ancient Greek and Roman section of the Metropolitan Museum of Art, Paul Anagnostopolous’ artwork would come closest to visualizing it. Paul’s body of work featuring male greek and roman figural motifs manipulate space and visual emphasis. The figures, a visual standard of western masculinity with homoerotic subtext, are shown in positions of vulnerability within rich landscapes drawn from Paul’s life. As well as subverting gendered expectations, Paul’s figures draw on his Greek and Italian heritage in addition to his childhood drawings of his grandparent’s replica ancient vases and classical statues.
Many people confess to a feeling of awe at seeing remnants of old civilizations. But oh wait, Anna's paintings in neon and pastel wash don't just focus on the time that landmarks endured, but the original fantasy they must have inspired. Namely, these sculptures submerge into the ground as if they've grown out of it, echoing the Olmec and Aztec beliefs that rocks and other landmarks are already animate. Their gravity doesn't come from the fact that they represent higher spirits, but that they are converging points for human and nature - and for painting, representation and our "reading into" it?
Sinejan’s mixed media paintings are an ode to the lived experiences of places that no article, photograph, or map can capture. Borders between two countries are never clear cut; languages become forgotten; some small towns cannot be reached by even mail, rendering it invisible. To parallel this constant process of unraveling, Sinejan erodes geographical boundaries on maps with stains of dirt, rust, spices, straw, and other materials collected from places she personally traveled to. She actually keeps glass jars of scrap metal on her studio cabinets that will one day turn into rust - a poetic process where even the most hardened, robust-looking materials eventually return to nature.
