Elena Zolotnitsky

Untitled: Blue

2020

Reverse Mylar Painting, 'Blue Composition (2),' 2017 by Catherine Howe. Oil and acrylic mediums on polyester sheeting, 40 x 30 in. / White Frame: 46 x 40.25 in. Howe's reverse-paint...

Reverse Mylar Painting, 'Blue Composition (1),' 2017 by Catherine Howe. Molding paste, oil and acrylic mediums on polyester sheeting, 40 x 30 in. / White Frame: 46 x 40.25 in. Howe's...

“Never taking anything for granted, I am so grateful to be able to paint every day.” Anne Harney is a representational painter beginning her work from observation and concluding wit...

“Never taking anything for granted, I am so grateful to be able to paint every day.” Anne Harney is a representational painter beginning her work from observation and concluding wit...

“Never taking anything for granted, I am so grateful to be able to paint every day.” Anne Harney is a representational painter beginning her work from observation and concluding wit...

“Never taking anything for granted, I am so grateful to be able to paint every day.” Anne Harney is a representational painter beginning her work from observation and concluding wit...

“Never taking anything for granted, I am so grateful to be able to paint every day.” Anne Harney is a representational painter beginning her work from observation and concluding wit...

Lesley Anne Spowart (American, born 1957) "Dog Show" 2022 Acrylic paint, oil stick, mixed media on cradled wood board Signed at the bottom right and on the back of the artwork. Lesl...

“Never taking anything for granted, I am so grateful to be able to paint every day.” Anne Harney is a representational painter beginning her work from observation and concluding wit...

The medium of choice for Do Byung-Kyu, born in Cheonan, Korea, is dolls: they are both his conceptions and his physical expression. At the same time dolls are also the perfect tool for communicating the artist’s inner self. Expressing himself by means of dolls liberates Do from the restrictions of the mundane world. By embodying in the form of dolls his actions and thoughts, dreams and desires, and even the instincts lying in the depths of the subconscious, he transcends the secular boundaries. Dolls are his alter ego, his other self that he can construct precisely the way he wants. Sublimating the experiences and memories from his youth into various subjects of desire, Do uses dolls to paint a descriptive picture of the ambiguous feelings of contradictions from his childhood when he would abuse and kill a plaything, for example a frog, then bury the body in solemn mourning over its death. These sexual or violent games from his childhood are not likely to be limited to Do’s experiences alone. Most of us can vaguely remember indulging in sadistic acts of sexual love against a doll. Rising above a child’s simple curiosity, it is an intuitive game of the senses we play by ourselves. In a number of Do’s paintings, sticky liquid can be observed dripping down a doll’s face. This brings back recollections of the life inside our mothers’ womb where we were also enveloped by mucous waters, like the amniotic fluid. It refuses contact with the anything, and nothing wants to touch it either. The shape of such a mucous liquid is a protective layer sheltering the intrinsic identity and desires of man. It is also a substitution that satisfies the ego’s instincts otherwise suppressed by social norms. The dolls’ eyes...