Paintings: Then and Now
11 June – 31 July 2018
Porto Cervo, Italy
This summer Louise Alexander Gallery presents a prolific group painting show assembling work by emerging to established global artists, showing how the motif of the body and nature persists and evolves as 21st-century painters abandon traditional figuration for non-realist expression.
British painter Ryan Mosley’s hallucinatory ‘Bacchanal Poetics’ conveys recognisable symbols of which colour choices antagonise the narratives which sees men each with a lovingly crafted different style, socialising after a night out drawing the viewer’s gaze further into imagining what could be happening, rather than what is there on the canvas.
Dallas born Rosson Crow utilises the medium of contemporary landscapes—specifically large-scale paintings of the American West—to examine America’s political landscape, Scattered amongst coloured cacti in Crow’s ‘Sunrise at Gila Bend’ are repeated ‘smileys’, the symbiotic relationship between acid and text message emoticons in Smiley culture which are inspired by road trips through the desert and her extensive archive of photographs, vintage postcards, and political ephemera.
Enrique Martínez Celaya’s paintings appears to convey a passage from a grand myth or epic narrative: poppies in vast fields that stretch to the light; a young man encased in ice; barren trees against a landscape; a child engulfed in a thick, oversized coat; a deer alone in the forest.
Celaya uses recurrent symbols in his work and one of them is the deer ‘The Hymn’. The painting initially suggests his view of the deer as a totem animal, showing it as a strong and dominating presence yet the graceful and gentle nature of the animal isolated in an abundant forest represents an alter ego.
Salomon Huerta is a painter based in Los Angeles, California who comes from Tijuana, Mexico and grew up in the Boyle Heights Projects in East Los Angeles. Huerta’s body of work includes many portraits without faces – masked luchadores, figures with heads turned away or cropped out. His still life paintings are faceless portraits in their own way as well, both self-portraits and evocations of the artist’s father. In place of the father’s likeness are memory- objects – startling, mundane, and elegiac. The repetition between paintings suggests memory itself, reiterations of something experienced that changes in the retelling.
For further information please contact:
Ayse Arnal – Louise Alexander Gallery
Phone: +447809030121 Email firstname.lastname@example.org