Unknown

Mid-Century Still-Life

Circa 1950

Bold French still life painting of small African mask on warm brown and blue background by artist Raymond Bailly, circa 1965. Original artwork on p...

Vibrant still life painting of Shell and Yacco motor oil containers, a reflective silver bucket, and a cork-stopped glass bottle by an un...

This charmingly impressionist oil still life depicts an antique copper pot, a glass bottle, and two artichokes by French artist Raymond Bailly, 1970s. Original artwork on paper dis...

Warmly hued oil on paper still life of open wooden box with artist's supplies spilling out, circa 1930. Signed lower right. Original artwork on paper displayed on a white mat with ...

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...

Illustration / Animals / Sports/Athletics / Representations of Everyday Objects / Bright and Vivid Colors / Pastel Colors / Figurative Art / Outsider Art / Pop Art / Surrealism From Macauley Norman...

Drawing / Illustration / Pop and Contemporary Pop / Representations of Everyday Objects / Figurative Art / Pop Art / Mixed-Media From Macauley Norman's solo exhibition, CRYPTIC CLUTTER, "Bulletin Board" is an incredible and unique installation-style figurative, pop surrealist piece featuring over 15 traditional and 3D drawings made with PLA plastic filament and gel pen on archival paper affixed with pins to a bulletin board. Among the imagery are a panoply of pop culture references from the Eastern, Western, Northern and Southern hemispheres -- Nacho Libre...

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...