Surreal dark art

August 15, 2020

Surrealism Art

“Artists that paint like Renaissance masters on medications”

(“The Machine when you look at the Garden” sets, by Jerry Wayne Downs; all pictures copyright laws Glass Garage Gallery, used by permission)

Western Hollywood’s Glass Garage Gallery is a little of a contrary oddball. No clean white walls (rather, they’re plum-colored). No aloof, snotty gallery staff employed with their attractive value (alternatively, it’s generally owner/director Henry Lien who’ll meet and greet you himself). Designers that paint like Renaissance masters on medicines. Large idea exhibitions, including one in which a noted Jungian therapist examined the musicians and artists about their artwork facing a live audience.

(“Hotel de Ville” and “The Refinery” by Arnau Alemany)

“it once was that musicians and artists suffered with regards to their work. Today, it is the visitors who suffer.” Glass Garage Gallery tries to reverse this trend.

“The gallery is kind of an answer to trends that have tyrannized modern art in the last 60 years, ” states the outspoken Lien. “For the one thing, we’re maybe not afraid of ‘pretty’.”

Lien learned semiotics at Brown, worked as a litigator for ten years, and it is plainly impassioned concerning the artists the gallery represents. These exact things collectively imply that it is hard to get him to prevent chatting once he gets excited.

(“Masks” show by Robert Peluce)

“‘Beauty’ is totally a four-letter term nowadays. I love that estimate from Banksy: ‘Every singer is willing to endure with their work. So why are incredibly few prepared to learn how to draw?’ Plenty of contemporary art seems to believe aesthetic beauty is incompatible with governmental awareness or intellectual rigor or modern reasoning, exactly like in China during Cultural Revolution.

(“The Mirror” and “The Wishbone” by Steven Kenny)

It’s like musicians and artists believe if it’s visually hideous and entirely lacking any smells of ‘technique’ or ‘effort’, it must be art. Which is completely understandable thinking. For thirteen-year old poseurs. As critic John McDonald of this Sydney day Herald stated, ‘It was once that performers suffered for work. Today, it’s the watchers who are suffering.’ That sort of art and art posturing is totally 20th century and it has means exceeded its shelf life, I think.”

Eye-Candy for Surrealists and Surrealist Sympathizers

The gallery is best known for representing Surrealists and Surrealist Sympathizers. Trademark music artists for the gallery include Margo Selski, whose work quotes Flemish artwork and culture portraiture of John Singer Sargent, all to produce an elaborate world starring Selski’s 12-year old son Theo.

(“dude with Teacup Piglet and Attention” and “Ladies’ Underwater Gardening Society (fragment)” by Margo Selski)

Other musicians include internationally recommended artist Leigh Wen-Cheng, whoever epic paintings of this elements are achieved by engraving tens of thousands of outlines into wet paint.

(“Air Mural” by Leigh Wen-Cheng)

The gallery is also the U.S. gallery for x-ray musician Nick Veasey, showcased previously on DRB (see here).

(“Basque” and “Robot” by Nick Veasey)

Steven Kenny’s work results in as a sort of Goth Rembrandt obsessed with nature as metaphor:

(“The Web” and “Bark Necklace” by Steven Kenny)

Larissa Morais’s artwork typifies Russian art in its love of dream and sick technical detail:

(“Assumption” series, by Larissa Morais)

Emil Alzamora’s sculptures represent a kind of distilled Surrealism that’s made up of simple, visual types that tattoo on their own regarding the straight back of one’s retina:

(“Clear Conscience” and “Core” by Emil Alzamora)

(“Sleeping Shark” and “Tether” by Emil Alzamora)

(“King” and “Spool (fragment)” by Emil Alzamora)

The insane detail of Josh Suda’s hyperrealist paintings makes you with a vividness that seems “more genuine versus genuine thing” in a manner that no photographic could:

(“Amalgamation”, by Josh Suda)

Susan Hannon’s lyrical, ten-foot large sculptures of “wings” are crafted out of abandoned Bibles, offering new lease of life to books spent with emotion and courting above a little bit of debate the musician:

(“you can get myself nearer to Jesus, # 6 (information)”, by Susan Hannon)

Jerry Wayne Downs’ first art task was to animate the three fairy godmothers on Disney’s “Sleeping Beauty”. But as his or her own visions became complete stranger and complete stranger, he made a decision to strike out on his own and be a Surrealist artist. His work however keeps clear proof this cartoon heritage:

(“The Spanners” show, by Jerry Wayne Downs)
(“Solitude”, “set aside Seating Only” and “Stylers”(right), by Jerry Wayne Downs)

Alevé Mei Loh’s “crush art” conveys in fixed type the power and violence of technology as a power of nature:

(“Made in Germany, Crashed in the us” and “changes” by Alevé Mei Loh)

The gallery additionally produces short films associated with its events, DVDs/Blu-Rays that tend to be free upon demand. The gallery normally known for nausea “Curator’s Cut” unique editions on Twitter, featuring erased artworks that performedn’t make the last lineup, interactive dialogues using the music artists, as well as other exclusive “bonus features”. For Instance, in 2010, the gallery exposed a Jungian-themed event entitled “Psychoradiology”. The artists had written straight down their dreams for year, after that created artwork considering their particular goals. The orifice exhibition had been made up of sessions between your artists and a Jungian analyst facing a live audience, of recorded and changed into a brief Surrealist movie that owes just as much
to David Lynch as to dream analysis. After that, on Twitter, the gallery welcomed its fans to publish their own ambitions. The gallery hired a Jungian analyst to interpret those goals and uploaded the interpretations on Facebook, alongside artwork exhibiting similar archetypes as those who work in the aspirations.

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