After quite impulsively tackling a frame-by-frame sequence of an animated figure merging into a mountainscape using paint on paper a few years ago, the artist started her journey into analogue animation and it's "a rabbit hole I never want to leave", she says. "This sense of continuous, boundaryless flow underpins both my life and my work. In animation, I have found the most compelling way to interpret the world being in constant motion."
Disembodied heads, eyes, and hands meet spindly trees, dragonflies, and vibrant blossoms in the folk-art inspired works of Michael McGrath. Based in Rhinebeck, New York, McGrath melds a variety of media-most pieces contain a mixture of graphite, ink, and oil and acrylic paints-into dynamic compositions suffuse with mystery. Recurring symbols and objects lend themself to a distinctive visual language that captures both the wondrous and puzzling.
She was producing these really precise, technical illustrations which were used in medical textbooks, says David Crowley, curator of a new retrospective of Schubert's work at Muzeum Susch, in eastern Switzerland. She was right in the middle of that practice She was totally unfazed about being in dissections. Her anatomical drawings, notes Marika Kuzmicz, the museum's curator, are still published in handbooks for medical students in Croatia today.
John Nixon, the late Australian avant-garde artist, would sometimes save the shells from his boiled eggs and sprinkle them across blank paint, creating his own starry night. Other times he'd set himself rules, such as painting only in orange for five years. It was 1996 and he was becoming a father, so he wanted a streamlined practice plus, what other artist was associated with orange?
My patchwork veils are wired tapestries of images and texture...I want it to feel complex but simple at the same time. I want the details and the objects to carry memory and trigger viewers into thinking about their associations with certain patterns and textures.