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Dennis Cooper + Gisèle Vienne

These eerie yet alluring adolescent life-size dolls were created for the theater pieces which Dennis Cooper and Gisèle Vienne have collaborated on since 2004. As Cooper says, “We consider the dolls to be actors in our works almost on a par with the human performers, and, although the dolls aren’t credited individually in the works, they each have names and fictional biographies constructed by Gisele. These biographies are used to determine which roles might be suited to their ‘personalities.'”

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Sarah Louise Davey’s Grotesque Menagerie

These disturbing and grotesquely beautiful sculptures by Sarah Louise Davey are made of vividly, violently, luridly, fantastically painted ceramic, embodying creatures with bold, tortured, glazed stares, and strange growths either covering their eyes or framing them like sick, rotted petals of flesh carved out around an astonishingly open iris. The effect is unnerving and startling, garish and obscene, yet whimsical and lovely. The pieces appear simultaneously textured and not, curiously both three- and two-dimensional – looking like paintings on porcelain – and the bold, dark lines sketching their features out against the chalky whiteness of the ceramic “flesh” hold a horrific and fascinating quality.

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Tim Lewis’ “Pony”

Tim Lewis’ Pony is a bizarre and uncanny kinetic sculpture that was exhibited at 2009’s Kinetica Art Fair. Unsettling and uber-realistic, Pony looks somewhat like a surreal ostrich-esque creature composed of human arms, pulling a small carriage behind itself; motion-sensitive, appearing to “walk” in a very eerie and delicately articulated fashion, it is another creepy and brilliant intersection of art and technology, and a provoking piece of interactive sculpture. Its title also suggests a veiled commentary on the relationship between humans and domesticated animals.

Tim Lewis – Pony

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Hell House: The Art of Esao Andrews

Esao Andrews combines a colorful palette with a surrealistically Gothic sensibility. Some of his paintings are twists on traditional portraits from earlier epochs akin to the work of Nicola Samorì. Wildly dilapidated and foreboding houses are a recurring motif, and, reminiscent of Shirley Jackson’s psychological horror stories, depict the inner, psychic falling-apart, decay, distortion, and warping. Fairy tales and folklore loom in the forefront with menacing or perverse appeal. His vibrant style often illustrates bizarre, obscene aberrations, contrasting atrocious or monstrous things such as a giant, bloated black spider with a symbol of sweetness and purity, a child or an angel.

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