Adrian Cox’s Borderlands paintings, to be unveiled in an upcoming show at Corey Helford Gallery in Los Angeles, are set in an Edenic vision of managed woodlands and weeded meadows, where fine and formal trees cast gentle shadows onto soft, green-carpeted forest floors. But this pleasant, lovely land of rolling rivers hosts a pink population of strange organisms—humanoid and faceless figures that have ascended from fungal forms, bright hominids evolved from the liminal slime on the mold-slipped edges of watery and fecund places. These are the border creatures, the spiritual and physical extensions of the idyllic landscape. They are the faceless caretakers of the Borderlands. “These strange but peaceful creatures are artists, gardeners, poets, scientists and mystics,” Cox says, “When they dream, the landscape dreams with them.” They coexist with the land and live in peaceful anarchy.
But Cox’s creatures of the Borderlands come in two species. The home of the border creatures has been invaded by blue, glowing specters, evil trespassers who have come to cause harm to the benign land of the fungal creatures.
The specters are destructive and exploitative. They are an entirely anonymous collective, led by a king who may be any one of them, only differentiated from the other specters by zipping on a coverall skin suit which gives the creature authority. In The Spectral King Enthroned the suit has symbols etched into it like tattoos. A simple crown is outlined on his forehead, a rude skull and a dagger line his shoulders, and an all-seeing eye on each knee, both accompanied by a downward pointing arrow. His authority is primitive and prescriptive. His staff burns and he rules with fire.
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Guardians of the Temple – Simon Dinnerstein reflects on The Fulbright Triptych 50 years later.
The Palmer Museum of Art at Penn State University exhibits Simon Dinnerstein's The Fulbright Triptych haunts the visual lexicon of 20th century American representational art. Fifty years have passed since Dinnerstein completed the painting in 1974.
A City Perspective
Leslie Gaduzo has always been interIested in art. Since childhood, he has been drawing constantly, from single point perspective drawings at age 10 to complex architectural drawings.
Living Legacy
The Butler Institue hosts Allied Artists of America's 110th Annual Juried Exhibition.
Elegant yet Approachable
The second edition of the RTIA Show presents even more art to explore and expanded special programming.
Figuratively Speaking
New York has always been an epicenter of artists on the edge of excellence, pushing the envelope and finding their voices.
JAMES AYERS: The Importance of Play
Like many artists, James Ayers' work took a turn during the Covid-19 pandemic. Seeing the enjoyment his kids took from playing with paint in his studio and exploring their creativity inspired him.
GINA MINICHINO: Playing with Food
Gina Minichino started her journey in visual arts because of Charles Schulz. \"He was my earliest influence for drawing and the reason I wanted to be a cartoonist,\" she says.
Island Light
The Cuttyhunk Island Artists' Residency is held in a sprawling, 100-year-old house on an island off the southern coast of Massachusetts.
Solitary Forms
Hogan Brown has been working with Arcadia Contemporary for two and half years and is excited to be featured in his first solo show at the gallery. He doesn't take for granted the many talented figurative painters Arcadia represents and is thrilled to be among them.
Living the Dream
Counterintuitively, David Gluck was a painter before taking up tattooing little more than a decade ago. While skin is a completely different substrate and ink a far cry from oil paint, the skills must be transferrable to some degree because there is a wait-time of nine months to get an appointment with him.