My work has for many years been inspired by Carl Jung and exploring my subconscious. I work through painting, assemblage, digital art, and installation, employing various strategies to access animus, the shadow, my elan vital. Through creative expression, I attempt to create the inner reality of my psyche. My work acts as a mirror where I try to see my soul – the inner workings of my mind. It transcends persona and barriers to connect with my true self where I hope to reconcile internal conflicts and heal myself. It would be impossible to communicate these aspects of my psyche verbally. The work is full of symbolism and archetypes which I believe are viewed in turn by the viewer in an unconscious manner. I hope that this will also be as therapeutic for the audience as it is for myself. I invite others to have a glimpse of a mind that is often troubled, anxious and depressed and to find empathy and understanding for people who are suffering from mental illness. I hope to touch the soul of anyone viewing my work. My work varies in style and is mostly influenced by the work of other artists, my mood, and environment. Recently Rauschenberg’s Combines have inspired me to create pieces that incorporate painting and assemblage, sometimes recycling art that I created some time in the past.
Larain Briggs studied Fine Art at Camberwell and education in Art at Goldsmiths in London, UK. Briggs studied for a BSc in Computer Aided Visualisation at the Anglia Polytechnic University and Art Therapy at the Institute for Art in Therapy and Education. Briggs now focuses on her multidisciplinary art practice full time.
Miles Johnson works primarily in pencil drawing. His surreal art explores psychological transformation in portraits and figurative images of female subjects.
Captivating. Mindbending. Recursive. Face melting. Gorgeous.
Johnston’s art is our psyche staring back from the void. Beyond the threshold of strange changes; he illustrates not a calculus infinite worlds, but the infinite selves it is possible to become.
Each picture below is a story of transformation the subject is undergoing.
Miles Johnston is a lover of pencils & Instructor at SARA.
Nicola Samori examines the theme of obsession from a number of different perspectives: that of the human body, religion, science, and the obsession of the artist with his own work. In his new paintings and sculptures he references art historical and biblical representations of ‘the healing of the possessed’. Examples of such associations are Raphael’s “Transfiguration”, Jean-Martin Charcot, who “invented” the medical diagnosis of hysteria in his hospital in Paris in the late 19th Century, and Efisio Marini, an Italian scientist and physician who created rather unconventional sculptures from preserved corpses.
Nicola Samori paints renaissance-style paintings with a contemporary twist: portions of the images are disfigured. Through melting, scratching, or other forms of destruction Samori degenerates what could otherwise be conceivably a Rembrandt or Caravaggio. I love this contemporary twist on representational art. Rather than the work being simply the world inside the paint– the surface paint itself becomes part of the story as it displays the ruin of the image– melting off the canvas or being smeared. The artist displays the highest technical skill in his oil paintings in the portions of the work that he doesn’t deface.
Excerpted from Juxtapoz:
The paintings of Italian artist, Nicola Samori, are full of sensuous energy. The thirty-five year old’s style is derived from the classical paintings of early renaissance masters. With the highest degree of precession, his figures emerge from the darkness of pictorial space into the light with dramatic realism.
Samori’s methodology is one that intertwines both violence and romance, which make his paintings all the more painful: He distorts them, smears them with his hand, disfigures hem with the palette knife, paints them over, or like a torturer removes the half-dry skin of the uppermost layer of paint with a scalpel. Yet, through this destructive deconstruction, his compositions have an eery sense of beauty and elegance.
Haunting and surreal oil paintings by Chicago-based artist Nicholas Nadja.
Nadja paints a world slightly off. A still life consisting of veiny-foot vase with sunflowers. A nude, headless female torso hanging from fish hooks and growing roots. (Titled Looking Through The Window Of An Abolished Trinity.) A cubist portrait where the subjects seems to be grimacing in pain, perhaps from the cubist distortions. An man, who’s face seems to be in motion when the image was taken, but instead of looking goofy he looks just a little deranged like a Francis Baconesqe oil painting. But rather than painting a completely different, hellish world as Bacon did, Nadja paints the slightly darker, slightly creepier aspects of this world. With the slightest tweak, this world is available to us all, and any moment.
Some of Nadja’s work will be on display at the Sullivan Galleries at School of the Art Institute of Chicago from the Nov. 21st to Dec 11 2015, at 33 State St. 7th Floor, Chicago IL
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