There is magical realism when reality in a work slips into reverie. Aaron Gilbert’s Psychic Novellas strobe between unflinching social realism and nightmare.
Within the new Tribeca gallery Lubov, upstairs and unassuming, I found the paintings of Katrina Fimmel.
Her art contains something intimate though expansive; it is filled with the force of geometry and nature, little small truth’s obsessive repetition that insists until a collective simplicity becomes god-like, like a pedal to a flower, a leaf to the tree.
Alessandro Sicioldr follows in a long tradition of visionary artists. His works are directed by an informed unconscious, by the Jungian depths of communicative symbol.
The two solo shows of Dina and Maya Brodsky currently at Bernarducci Meisel Gallery immediately thrill the viewer with sheer technical virtuosity.
Martin constructs surrealistic dystopian visions of an abrupt reintegration of exotic animal life into the ruins of industrialization.
The Latin origins of the word monster, monere/monstrum, mean to portend and instruct. A monster’s instructive function is abundant within the span of Western mythos: do not be, do, go near, or engage. Interaction with this other is a form of becoming.