You May Know Her as Jessa on GIRLS, But Jemima Kirke Is Also A Talented Artist.

above: Jemima stands in front of two of her works (image cropped, courtesy of Warholian)

London-born actress Jemima Kirke, who you may know as the selfish, self-destructive but likeable Jessa on the HBO series GIRLS, also happens to be a fine artist. The 27 year old, who was born hip with a drummer as a father and a mother who owns a vintage boutique, received a BFA in painting from the reputable RISD in 2008 and considers being a fine artist as her real work.

Heroines by Deborah Oropallo At Melissa Morgan Fine Art

above: Deborah Oropallo, Where am I?, 2012, 50 1/2 x 38 1/2 inches, acrylic on paper

Melissa Morgan Fine Art just received artist Deborah Oropallo's newest paintings and works on paper from her latest series “Heroine.” in their Palm Desert Gallery.

Oropallo says of the Heroine series, which was begun in 2012, “The ‘struggle,’ I think, becomes a kind of metaphor for how women in the media have been portrayed, or wished to be portrayed…pre- or post-feminist, depending on the decade. Since the beginning of the comic-book industry in the 1940s, super-heroines have searched for identity on a broader scale. The super-hero fights for justice, but the super-heroine must also fight for equality. These eroticized and deified female characters, conformed as they are to the comics medium’s traditional visual tropes, thus carry out their struggle in a realm of ironic dichotomies—empowered and exploited, funny and tragic, masked and exposed.”

Don't Believe Me?
2012
Acrylic on Canvas, 64 x 49


This is just the beginning.
2012
80 x 60 inches, acrylic on canvas


What have you done?
2012
49 x 64 inches, acrylic on canvas


There's not enough time!
2012
50 1/2 x 38 1/2 inches, acrylic on paper


How can this be possible?
2012
80 x 60 inches, acrylic on canvas


Not even you!
2012
38 1/2 x 50 1/2 inches, acrylic on paper


This can't be happening!
2012
38 1/2 x 50 1/2 inches, acrylic on paper


From Magolia Editions:

"Deborah Oropallo continues her exploration of the iconography of power and costume in a new series of mixed-media works depicting abstracted female forms clad in superhero costumes. Oropallo’s inspiration for these prints was a troupe of female performers in Los Angeles, whose thriving web-based business venture involves dressing up in superhero costumes and enacting live-action comic books. The artist’s digital manipulation of these figures and their outfits zeroes in on ambiguous moments of dressing and undressing, where a metamorphosis, a kind of becoming or un-becoming, seems to be taking place. This ambiguity is heightened by the artist’s removal of nearly any trace of human flesh or faces from each figure, a signature move that destabilizes the work, creating a tension between figuration and abstraction: because so much information has been removed from each image, the fragments and gestures that remain assume both an air of mystery and a critical significance."

In a 2009 essay on Oropallo’s work, Nick Stone writes: “We know that we are decoding these images not because we are sure of what they mean but precisely because we are unsure; from a semiotic point of view, the works’ indeterminacy is what makes them tick. Because the code is not immediately legible, we become aware of its presence, and are confronted by a system which we may not have even been aware that we were using. This tendency to mask and unmask via layers and distortion is a consistent theme for Oropallo: in a 2004 interview she noted, ‘I’m always trying to soften the definition, [to] dissolve the images a little more.’ Beginning with the Feign series and continuing through the works collected here, Oropallo’s work has increasingly honed in on this theme; she has committed herself to a singular exploration of this indeterminacy, the process of blurring, distorting, and erasing information so as to scramble the viewer’s radar. In Feign, the digitally painted figures are recognizable as such, and their gender roles and costumes are fairly clear; it is the surface code, the medium, the code of line and color on a ground, which is being interrupted and jammed. As the figures in Guise become more indistinct and the boundaries of each figure and his or her costume – the boundaries of his or her very his-ness or her-ness – suddenly the codes of gender and power begin to break down and dissolve into one another. And in Wild Wild West, the figures have disappeared completely, as if acid has eaten away at the underlying medium by which these codes are transmitted. In this series it is as if Oropallo is paring each image down in search of the barest minimum of information necessary for our eyes to read into line and shape a link to some conceptual referent. By feeding our internal codecs ever fuzzier and more ambiguous data, she dares us to be sure of the meaning we take from each image.”

Visit the Melissa Morgan Fine Art gallery to see these wonderful works. They are located at 73-040 El Paseo in Palm Desert, CA.

The Pop Surrealism Of Emmy Lincoln (AKA ItchySoul).

above: In 'The deeply misunderstood friendly Shiphugger', ItchySoul has added a giant octopus and water details atop a found vintage oil painting of a classic clipper ship.

Sweden-born artist Emmy Lincoln, who goes by the artist moniker ItchySoul, creates imaginative lowbrow artwork by up-cycling flea market finds such as old oil paintings, antique photos and old book covers as well as creating her own original acrylic works.


above left: acrylic body art painting upon a 1922 book cover (Snovit) and acrylic demons painted atop a vintage 1917 Budapest photo of a one year old Hungarian boy (Ferike).

Inspired by sci-fi, fairytales, animé, toys and all things kitsch, this is her way of paying tribute to the unknown or forgotten artist. She sees her paintings as "stories yet to be told."

Here are more of her wonderful pieces.

The chances of anything coming from Mars are a million to one, he said (acrylics atop a vintage landscape painting):

Mermaid and Alligator (original acrylic painting in vintage frame):

Neon Menace (painting and wax seal atop an IKEA printed canvas):

Piggy's Big Day Out (acrylics atop an antique landscape oil painting):

When I Was A Young Fawn (acrylics atop a vintage oil painting):

detail:

The Good Girl (spirits in acrylics painted on 1915 Hungarian photograph):

Forest Mushroom Dwellers (acrylics on plywood) and Visiting (acrylics on canvas):

Friends (Acrylic triptych on canvas):


About the artist:


Born in 1980, Emmy grew up as a middle child in the tiny village Dösjebro. She was constantly drawing on things and her friends and family always encouraged her to. Both her grandmother Berit who was a map drawer and painter, and her mom Yvonne who is a ceramic artist, were great inspirations for her growing up.

After finishing high school in 1999 Emmy traveled for a few years and had stray jobs in hospitality in London, Tokyo and Sydney. She ended up studying graphic design at the Enmore Design Center, Sydney. Then followed internships at design studio Campbell Barnett and ad agency Arnold Australia.

Since returning to Sweden in 2005 Emmy is working as a Visual Designer in the mobile phone industry and is currently freelancing under company name ItchySoul AB.

Emmy lives in Malmö with her boyfriend Mattias where they share a cozy music- and art studio. Her debut art exhibition was at the No White Walls 43 gallery in Malmö in May 2013, where her quirky mash-up paintings were very appreciated by the audience.

all images courtesy and copyright of the artist

See more of her fun work here.

The Paintings and Works On Paper of Mark Bradley-Shoup.

above: Mark Bradley-Shoup, Summer Gray Gas Station in Patine Blue

There's something about Mark Bradley-Shoup's work that I find really appealing and it's no wonder. His representational works on paper, abstract paintings and mixed media works each have elements that remind me of four of my favorites artists; Richard Diebenkorn's landscapes and abstracts, Ed Ruscha's Standard Oil gas station studies and prints, Wayne Thiebaud's composition and painterly style and Robert Rauschenberg's collages. Bradley-Shoup's simple and subdued color palettes, clean lines and structured compositions - all executed with a certain restraint - result in compelling and aesthetically attractive works.

Below are several of my favorite pieces of his.

Representational:












Mixed Media:




Abstract works:






Mark Bradley-Shoup earned his BFA from the University of Tennessee at Chattanooga in Painting and Drawing and his MFA from the University of North Carolina at Chapel Hill in Studio Art. Bradley-Shoup produces meticulously crafted paintings and works on paper based in part on his own manipulated photographs of both urban and rural environments.

He employs extensive use of masking tape, rulers and x-acto blades to generate precise areas of paint that emphasize the surface texture of his compositions in a way that undermines any elements of photorealist illusion. Prevalent themes in his work include “consumption and growth,” “expansion and recession,” and “the elegance of brutality.”

He has worked with various non-profit agencies and educational institutions including the Hunter Museum of American Art, the Association for Visual Arts, Allied Arts of Greater Chattanooga, the Creative Discovery Museum, Chattanooga Parks, Recreation, Arts and Culture, and the Chattanooga School for the Arts and Sciences. Currently, Bradley-Shoup is based in Chattanooga and is a Visiting Lecturer at the University of Tennessee Chattanooga.


Mark Bradley-Shoup

If you would like to get in touch with Mark, feel free to email mbradleyshoup@hotmail.com

Andrew Myers Decides To Screw Art. Portraits Made With A Drill and Philips Head Screws.

It's hard to know whether or not to call Andrew Myers' work paintings or sculpture. A bit of both, Artist Andrew Myers uses anywhere from 8,000 - 10,000 screws (which he then hand paints) drilled into boards to create thoughtful portraits of men and women.




His backgrounds are created from a collage of telephone book pages. Despite the unusual mediums, the completed images are surprisingly soulful.

This recently completed screw portrait used 9,800 screws:


Other screw portraits by Andrew:



above: Portrait of John. Dimensions 48 in x 48 in x 5 in. Medium: screws, oil paint and phone book pages



above: An Artist's winter. Dimensions 24 in x 24 in x 4 in. Medium: screws, oil paint and phone book pages



above: Portrait of Bill. Dimensions 24 in x 24 in x 4 in. Medium: screws, oil paint and phone book pages



above: Portrait of Sabrina. Dimensions 48 in x 48 in x 5 in. Medium: screws, oil paint and phone book pages

About the artist:


Since his early childhood, Andrew Myers has been artistically influenced by european life and culture. Born in Braunshweig, Germany and raised in Ciudad Real, Spain his exposure to modern continental living and classical architecture prompted the universal and classical themes, yet modern design found in his artwork.

At the age of 20, Myers applied to the Art Institute of Southern California (now known as the Laguna College of Art and Design); with no previous art training, he was accepted based upon the natural talent his application portfolio evidenced. The young artist developed his skills through advanced figurative sculpture and accelerated painting curriculum. While these two and a half years of creative training provided Myers with the basic working knowledge of the artistic field, it was his drive, passion, and leap of faith into work as a full time artist that allowed him to cultivate his particular style. Myers blends modern material with classical figurative technique featuring a universal subject matter that is prevalent throughout his work. It is his unification of these three characteristics that results in the innovative and modern artwork that captivates viewers and has been so highly acclaimed nationwide.

Most recently, Myers has been working on public commissions, some of which include, St. Catherine’s Catholic Church in the Diocese of Orange and a public work for the City of Laguna Beach, California, as well as several private client commissions.

Andrew Myers