Lucian Freud created an entirely new genre in the depiction of the human figure. His ‘naked portraits’ present subjects as pure animal forms not dissimilar from inanimate still life objects, while at the same time rendering painted flesh with an extraordinary, penetrating humanity. ‘A Not So Still Life’ presents Freud’s late large paintings ‘Naked portrait in a red chair’ (1999) and ‘David and Eli’ (2003–4). By turns clinical and intimate, stark and tender, the works resulted from weeks of intense sitting by and scrutiny of the artist’s subjects. While the woman in the first portrait goes unnamed, the second picture identifies Freud’s two most constant companions: his long-time studio assistant and friend David Dawson, and his whippet Eli. Both paintings evidence Freud’s almost ruthless process of observation and forensic reckoning of the human body. “Living people interest me far more than anything else,” Freud stated. “I’m really interested in them as animals. The one thing about human animals is their individuality: liking to work from them naked is part of that reason, because I can see more.” Continue Reading
Neil Dawson (born 1948) is a prominent New Zealand sculptor. His best known works are large-scale civic pieces crafted from aluminum and stainless steel, often made using a lattice of natural forms which between them form a geometric whole. Continue Reading
Augistine Kofie’s series entitled “Circulatory System” feature a clean delineation of geometric forms
and divisions of space with a resemblance to the technical precision of architectural drafting. Kofie’s adept grasp of sharp illustration results in a style of meticulous rendering, which never seems cold or sterile due to the delicate sense of balance maintained within each composition. Continue Reading
In the vein of Pollock’s action paintings with a resemblance to Joseph Allen and Ruth Andre, Jennifer Perlmutter subtly balances the influences of nature and civilization in her work. She combines environmental character with urban features in a complex layering to create a push-pull of color, figure and texture.
A detached, yet highly personal effect transmits through Korean Artist Ho Ryon Lee’s photorealistic paintings.