Ilana Zweschi makes process-based paintings that seek to disarm documents of propaganda and harmful pronouncements. The brushstrokes are determined by an algorithm rooted in color theory and if/then rules.
Mary Weisenburger makes paintings teeming with hard edges, rich textures, color harmonies, and optical illusions. Painters today must be able to demonstrate why their images are rendered in oil paint and not Microsoft Paint, so to speak, and Weisenburger continues to push the chromatic and textural boundaries of the oily, messy, 700 year old medium.
Kendrick Corp makes paintings that expose the inherent contradictions of American masculinity. After a weekend that saw hundreds of violent chauvinists descend on our city, it is crucial that we take a critical look at what it means to identify as a man in America today.
Australian abstract artist Gabrielle Jones makes paintings that appear like wild bouquets of brushstrokes— energy coalescing into amorphous fleshy forms. They are seemingly sentient heaps of color about "the performative act of painting, capturing the rhythm of movement."
The paintings of Cynthia Cruz are maximalist phantasmagoric scenes populated by weird bodies, alien creatures, and lots of decorative patterns. They are trippy, psychedelic images not entirely unlike those produced through Google's Deep Dream Generator.
The paintings of Robert Otto Epstein are vividly colored gridded compositions that call to mind 8-bit imagery and 90's computer software. His subject matter is sourced from pop culture and constructed through a rigorous process he derived from vintage knitting patterns.
Seattle artist Cable Griffith is known for his dense, colorful, fantasy landscape paintings informed equally by nature and video games. They are flattened, expansive compositions with different land forms coming together in a single image.
Artist Benjamin Terry makes playful paintings that use color and form to highlight longstanding painting traditions precisely by veering from them. His paintings bend towards the sculptural and his concern with space is apparent in his immersive installations.
Artist Ronald Hall makes paintings that seamlessly blend figurative elements, painterly abstract passages, and post-pop art flourishes, into compositions that have the affect of a fever dream. They are "a kaleidoscopic fusion of urban energy," he says, that "attempt to challenge the viewers interpretation of what contemporary black art is."
Artist Caetlynn Booth makes high chroma paintings full of patterns, reflections and hard edges. Her work "takes as its starting point an element of figurative imagery, such as grasses reflected in the swamp, or the silhouette of a swimmer," and develops this into a symbolic language of post-minimal landscape abstraction.
Portland based Artist Samantha Wall makes haunting, ethereal, figurative pieces of flowing ink and virtuosic brushwork. Although painterly, these are drawings dealing in swirling grays and blacks with occasional bursts of gold.
Chicago artist Jean Alexander Frater makes paintings about paintings that deal in simple forms, restraint, and judiciousness. "If the idea doesn't work," she says, "then I roll up the canvas and put it away."
Artist Victor Perez takes the digital age as a given in creating paintings that playfully riff on painting conventions and contemporary living. His work is rife with humor that often takes a snarky or sardonic tone.
Seattle based artist Emily Gherard creates subdued process-based work that reads as abstract landscapes, but which is actually rooted in figurative drawing. Her paintings balance dense accretions of marks with expanses of negative space, often in dark or muted tones.
Super Future Kid's work is a post-ironic ode to cartoons, plastic toys, and the saccharine. She uses play in her wacky, jubilant, high chroma paintings as a metaphor for adult problem solving. "There often is this very basic idea behind toys to emulate life by creating simple, fun, and happy versions of [things] that have serious and complex counterparts in the world of adults."
New York artist Chason Matthams is a painter of our times, making work referencing memes, digital interfaces, net art, and generations of art history. In his latest show at Thierry Goldberg, he "has cast a wide net, reeling in images from all over the digital spectrum, their forced juxtapositions leading to pointed and humorous commentary."
E.E. Ikeler makes work that uses painting as a technology to develop a particular type of knowledge. The paintings— gridded, patterned, textual, and textural compositions— demonstrate the plasticity inherent to both abstraction and language.
Dan Gluibizzi makes work that recontextualizes internet photography into chromatic groupings of anonymous bodies and faces. The figures in his paintings appear self-possessed and unconcerned with our gaze.
This week's artist makes a wide range of work outside the traditional gallery setting and goes by the moniker Buffalo. "It's a nickname given to me by some of my closest friends," he explains. "We valued sharing in experiences, space, food, and functioned as an egalitarian hedonistic group, whose goal was seek the things in life which invigorate the spirit or soul." Buffalo describes his work as experiential, often utilizing visual phenomena like lateral inhibition or the Hermann Grid illusion.
Los Angeles based artist Amir H. Fallah constructs lush, vibrantly hued paintings populated by shrouded figures in shallow spaces. The flattened perspective is a nod to Persian miniatures and, as Amir writes, his paintings are "charged with symbolism from countries and cultures left behind."
Bobby Haulotte is an imminent painter of our times, addressing certain hallmarks of this decade like screens, saturation, obfuscation, artifice, split attention, and anxiety. His still life paintings feature highly saturated colors that, like post analog painting more generally, is able to "mimic the machine just as well as they can mimic us."
Gwen Yip's painting series, Backs, powerfully illustrates the quiet loneliness that characterizes living in a bustling metropolis. In each painting we see the backs of one or two people in minimally rendered city spaces.
After spending 12 years as a freelance graphic designer, Wokeface began making art for herself and displaying it on the streets of Portland. Her paintings are beacons of joy in these dark times with her remarkably simple symbol of a serene looking smiley face with a wide open third eye.
Jean Nagai's paintings are interference patterns of bright hues that seem to move and vibrate. They are "uplifting and spiritual in the way that walking through the woods or smelling rain brings you back to your body," writes Jasmyn Keimig.
Stephanie Pierce makes laboriously observed paintings from her immediate surroundings that feel glitchy, time-lapsed, and transitory. She has a way of making the familiar (a bed, a plant, a boombox) uncanny.
Jeremy Okai Davis makes paintings that adroitly mix elements of abstraction and figuration. The skintones of his figures are alive with spots of intense color that are a testament to optical color mixing.