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Category: Visual Art

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Lauren Marx

Lauren Marx is currently exhibiting at Roq la Rue Gallery in Seattle together with Travis Louie. Her delicate, intricate, macabre drawings of animals and nature remind me of Caitlin Hackett’s work. They bring to mind the troubled magnetism that one feels as a child, coming upon a decomposing carcass in the woods, compounded of repulsion at the grotesqueness and of being transfixed in fascination, a whisper of a feeling, “as I am now, so shall you be.”

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Atsuko Goto

These softly beautiful watercolors by Atsuko Goto are ethereal and enveloped in a dreamlike haze, with an extraordinary effect produced by the materials she uses, which include lapis lazuli on cotton. Delicate, richly detailed, yet vague, they are haloed with a ghostly lambency and feature children and women entangled with flora and fauna, adorned and merged with flowers, insects, butterflies, birds, koi, and mammals.

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The Self-Portraiture of Jessica Woods

“i like to shoot around the places where i grew up. i want to capture certain emotions, if it feels like heavy fog in autumn, the woods at night where creatures and ghosts hide in trees and in holes in the ground, like a place i knew as a child, a dream or a memory, a visual or auditory distortion caused by fear or love or sleeplessness, an abandoned house where the memories of previous owners still haunt the walls, like shivering when you’re outside and it’s cold but you’re holding hands with the person you love, if it feels like something lurking in the shadows, a dimly lit street in my hometown, the forest after it rains.”
— Jessica Woods

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Miso’s Cornucopia

{ Cornucopia began life as a meditation on 16th-century Flemish still life paintings, but evolved into something more descriptively elusive. The relatively small, but lavishly illuminated oil paintings that comprise the exhibition feature botanical wonders alongside the dissected anatomical figures that populate Karen Hsiao’s fantasy Miso world.

The titular cornucopia relates to Hsiao’s vast collection of specimens, both flora and fauna, that continue the tradition of scientific classification paintings spanning Audubon to Walton Ford – but reflecting a modern context of fetishistic connoisseurship. }

— La Luz de Jesus

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