Drawings and Paintings

Bierk’s hyper-realistic figurative painting brings to life the smallest detail, every hair and follicle transferred from model to canvas as the artist seeks the elemental essence and very materiality of his subject at an extraordinary scope. His system of gridding as a way to break up and examine sections of the face, as well as the overall scale of the works, recall and extend the practice of Chuck Close — as well as the landscape work of his father David Bierk — and offer a fantastic spectrum of reality based on proximity, sheer photorealism at a distance marred and adjusted by small imperfections and abstractions in the paintwork on a closer view.

from DER 7. GRAD

Please Explain Issac Asimov

Reynolds precise renderings of muscle and flayed meat are grotesque, but the delicacy and detailed structure urge a close — often forensic — inspection. ‘Reindeer Voluptuary’ presents an artefact of her time in Sweden from 1999-2002, having been invited to spectate and document the slaughter of reindeer by the indigenous Sami — the only people allowed to herd and breed the animal within the country — and invoke the tragedy and beauty of the process. The use of oil and a particularly soft palette of pinks, reds and whites gives the gore an unsettling but purveying sensuality. Reynolds is influenced by ‘divine’ sacrifices common in Baroque or Dutch masters, often conjured through the use of flesh or animal in still life.

Ingram’s self-portraits chronicle moments or cycles of change in the artists life, the artist working from his bathroom mirror to meticulously and fantastically detail himself at that moment at large scale. Utilising charcoal, Ingram captures fleeting contours and subtleties of the face in a translucent, dreamlike manner — often combining the result with watercolour, oil, or resourceful collage for a remarkable contrast of tone.

Creatures of the Afterlife