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Category: Visual Art

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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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Mia Calderone

Ghostly, sinuous, beautifully illustrated apparitions with elongated, eerie, torturously expressive wraith-like hands figure prominently in Mia Calderone’s exquisite and highly personal ink drawings. Her influences and inspirations include Catholicism, medieval illuminated Bibles, Art Nouveau (particularly Alphonse Mucha and Aubrey Beardsley), and contemporary artists Takato Yamamoto and Laura Laine.

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Emily Kaelin

Emily Kaelin is a young artist who deals with the theme of repulsion versus beauty, in installations, mixed-media art, and paintings, mimicking human organic materials that are generally thought to be disgusting, such as flesh, hair, blood, and bone, and creating pieces that are conflicting, visceral, and boundary-pushing. She describes her own art in these words: “push and pull of appealing and repellent, comforting and upsetting, lovely and ugly; inability to look at or render self objectively; impulse and intuition and instinct; emotionality; flesh; hairiness.”

Her artwork constantly intersects the descriptors of ugly, strangely beautiful, alluring, repulsive, bizarre, off-putting, intriguing, fleshy, raw, delicate, and otherworldly. It expresses agony incarnate in the body, in its materials of ink and parchment (blood and skin).

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