Source: Olive Trees (Van Gogh series) – Wikipedia

Of Olive Trees in a Mountainous Landscape in the collection of the Museum of Modern Art (MoMA), Vincent wrote his brother Theo: “I did a landscape with olive trees and also a new study of a starry sky,” calling this painting the daylight complement to the nocturnal, The Starry Night. His intention was to go beyond “the photographic and silly perfection of some painters” to an intensity born of color and linear rhythms.[29]

Within the painting, twisted green olive trees stand before the foothills of the Alps and underneath the sky with an “ectoplasmic” cloud. Later, when the pictures had dried, he sent both of them to Theo in Paris, noting: “The olive trees with the white cloud and the mountains behind, as well as the rise of the moon and the night effect, are exaggerations from the point of view of the general arrangement; the outlines are accentuated as in some old woodcuts.”[29]

Documentation of Renaud Jerez at Crèvecoeur, Paris, rive droite is featured on Contemporary Art Daily.

Source: Renaud Jerez at Crèvecoeur, Paris, rive droite | Contemporary Art Daily

My work with glass transforms the notion that Native artists are only best when traditional materials are used. It has helped advocate on the behalf of…

Source: Home | Preston Singletary

Tattoo artist, painter, and sculptor Fred Laverne has a dark surrealist sensibility, blending in odes to pop culture and pulp tropes into his work. The artist resides in Menton, France, and has garnered a reputation in both tattooing and fine arts, practices he keeps in parallel.

Source: The Dark Surrealist Paintings of Fred Laverne – Hi-Fructose Magazine

Source: Juxtapoz Magazine – Camille Rose Garcia’s Life Work Is “The Polyphonic Fortress”

There is an unmistakable escapism at work here, perhaps the one unifying theme throughout Garcia’s work. The landscapes become psychedelic escape portals where the paintings themselves transform into magical objects capable of psychic transport. In this way they differ from the earlier work that narrated the means for escape. These paintings no longer narrate escape, as much as they embody it.

The “Polyphonic Fortress” is a shimmering, ethereal love letter to the landscapes of California, from the smallest of her inhabitants and the world within them, to the greater Universes beyond. It is a record of the artist’s dreams, a spell to cure time, and a magic fort of blankets to keep the crystalline perfection of nature, protected and unchanged.

 

Rising from the plush motifs of woven rugs, the wildlife that emerge from Debbie Lawson’s Kent studio are camouflaged by domesticity.

Source: Debbie Lawson Tames the Wild by Cloaking Life-Sized Animals in Ornate Rugs — Colossal

Born 1954, South Carolina. Melvin “Milky” Way is an Outsider Artist whose work occupies the uncharted border between art and science. Born in South Carolina in 1954, Way came to New York City in the 1970s to attend a technical school, earning a certificate to operate a power press. He played bass in local bands, and recorded a solo album with Encounter Records, which folded before the album could be released. Soon after, Way was diagnosed with schizophrenia, and following a string of unsuccessful relationships, became homeless. By 1989 Way was residing in the shelter run by Hospital Audiences International, a nonprofit organization offering art workshops to people with disabilities. Lower East Side artist Andrew Castrucci, a volunteer workshop leader at the time, encouraged Way to make art, and acted as his advocate during subsequent years. Way soon began to produce small, exquisite ballpoint-pen and ink drawings on found paper. Despite the very straightforward of his chosen genre, Way’s drawings are strikingly complex. Rich hybrids of scrawled text, mathematical equations, astronomical shorthand, chemical formulae, and alchemical punning, each work is marked by the artist’s signature, thrillingly dense sensibility. Way engages both the eye and the mind, drawing viewers into exquisite mysteries that may never be solved.- Jenifer P. Borum

Source: Melvin Way – Artists – Andrew Edlin Gallery

Grace Gillespie grew up in an artistic household, but she resisted pursuing visual art at first, especially printmaking, because it was something both of her parents excelled at. “I guess I wanted my own ‘thing,’” she tells Colossal, which for most of her twenties was music. Then, during the pandemic, she found herself furloughed, disillusioned with the music industry, and back at her parents’ home in Devon, England.During her six-month stay, Gillespie had access to a large etching press belonging to her mother, artist Sarah Gillespie. “I decided to try my hand at linocut and was immediately very addicted!” the artist says. “I was also just incredibly lucky that (my parents) had a lot of old lino and tools lying around—a bit ancient and rusty, but they did the trick.”

Source: Grace Gillespie’s Vibrant Linocut Prints of Flowers and Foliage Tap Into Her Artistic Roots — Colossal

Source: Juxtapoz Magazine – A Portfolio: Rain Szeto