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.
The simplicity of Linda Stark's paintings belie their meticulous construction. Using tiny brushes, she builds layers of oil paint into graphical images rich with ridged patterns, textures, and sculptural effects. Although her paintings are sometimes laced with humor, any irony quickly yields to their earnest, almost obsessive, construction.
Ralph Pugay makes paintings that trade in archetypes, uncomfortable humor, and weird space. Many of his colorful, folksy paintings hit with the force of a punchline, but without the clean resolution of a good zinger.
Kimberly Trowbridge’s paintings strike me as both carefully observed and strangely fantastical. She is a painter versed in Academic tradition and observational painting, and that critical eye is evidenced throughout her wide body of work.