·SHINDIG·

About

YUI Gallery’s third exhibition brings together the talents of six artists who explore mark making, materiality and texture through diverse means. Each artist manipulates paint and the ways in which its application dictates a painting’s composition. They achieve absurdist narratives, bewildered moments and a motley crew of figurations that titillate the senses with their colorful palettes.

Philip Hinge reminds viewers of the materiality of his medium with a slew of mark making techniques that emphasize the surface textures of his ambiguous scenes. He intentionally constructs nonlinear narratives intended to perplex viewers. The graphic artwork of Christopher Davison harkens back to the aesthetics of traditional flash tattoos with his simply rendered figures. He layers paper and drawn elements to generate a rough around the edges quality about his patterned images to depict fantastically bizarre dreamscapes, moments of contemplation and mythologies.

Robert Nava creates rudimentary images that resemble a Microsoft Paint doodle with their limited color palettes and an emphasis on broken line. His paintings are layered and flat in a serigraphic manner with opaque forms that are offset by the luminescent glow of Nava’s blurred, soft-focus line work. Saturated pigments are no stranger to Jennifer Sullivan, an artist who varies the opacity and translucency of her medium to layout a patchwork of diverse applications of paint that ebb and flow into and across the figurations on her canvas. Her vibrant color choices take a page from Fauvism’s book and bares many similarities to Matisse’s looser, cruder paintings.

Ryan Foley paints compositions where he either manipulates the material to carve out abstracted forms with undulating line work that traces Foley’s brush or he delineates them with voids of negative space. Foley’s textured paintings showcase various styles of mark making that can be fluid and flat, or aggressive and heavy handed. The paintings of Royal Jarmon are, at times, convincingly realistic compositions, while at others they are unapologetically absurd artworks where the artist subtly dismantles the logic of his scenes. Their soft-focused backgrounds are disrupted by hard-lined color forms that occupy the foreground and together they captivate the eye with their saturated hues and his uniquely graphic hand.