When a series of Sharon Moody’s artworks were exhibited earlier this year it earned critical acclaim, but not without creating quite a bit of clamour, ironically for the same reason. The series was dedicated to the Classic Comic Books and their rolled, folded and yellowed pages. The work was too perfect to have gone unnoticed. For the same reason, it reignited an old controversy about the ethos of such photorealistic depiction of comic books with their original characters and storylines without an explicit mentioning of the names of the comic artists. Experienced connoisseurs of art may have had a feeling of déjà vu here. Years ago none other than Roy Lichtenstein found himself confronting such questions when he exhibited Whaam! in 1963. Interestingly, many of today’s critics like comparing Sharon Moody’s art to that of Lichtenstein’s, notwithstanding the fact that the latter was a representative of pop art done at a different time and place.
Sharon Moody was born in Florida, but spent much of her time in North Carolina until she completed her BFA from Appalachian State University, Boone, NC in 1973. The ensuing years were marked by her continued explorations in the world of art, further studies, including an MFA degree from George Washington University, Washington DC, and being a teacher and mentor to young talents. In between, she developed a rich body of work that is permeated by the colours of her own thoughts and sensibilities. She is a great admirer of William Harnett and John F Peto’s paintings, artists who kindled the passions for trompe l’œil on the other side of the Atlantic. Her own handling of optical illusion on canvas could be considered an homage to these two great artists. It is her ingenuity that leads her to imbibe the essence of photorealism in the Classic Comic Books without diluting the veritable charm of trompe l’œil. The former assists her to capture the exceptionally minute details of a chocolate bar, a pair of tennis racquets or a one dollar bill while the latter induces the viewer into a forced perspective on a two dimensional plain. It might be true that ‘reality’ is nothing but a ‘persistent illusion’, but in this case the illusion turns out to be a rather gratifying one.
We would never know if the famous Rascal Flatts song Life is a Highway was in the back of the subconscious mind of Joe Simpson, the gifted artist from England, when he created Across America. For the paintings, often consisting fleeting images of a vast country, evoke a feeling of Life’s like a road that you travel on / When there’s one day here and the next day gone / Sometimes you bend, sometimes you stand / Sometimes you turn your back to the wind. If noticed closely the sketches, monochromatic and denuded from any distraction, feel even more intimate. As if you may find your own home or the corner of a street of your neighbourhood staring back at you from the frames!
Joe Simpson is one of those artists whose faith is firmly rooted in realism. He uses facets from everyday lives to weave his story on canvas. So common men and women with their hopes and aspirations, love and affections, despondencies and rejections become loci of his narratives. In that respect his work is a golden link between him and the masters of Dutch Golden Age who brought genre paintings into the centre of attention. Appropriate to the age the backdrop changes as much as does the characters. The rustic folks busy in merrymaking or a lonely girl working at a corner of a room are replaced by men and women jostling with each other in an urban setting or a forlorn figure intently reading a letter with a smirk on the face. And at times objects like telegraph poles and pylons set up against the wide blue yonder are personified to communicate their own story.
Born in 1984, Lancaster, England, Joe Simpson acquired critical acclaim showcasing his work in a number of galleries in United Kingdom and beyond. Not only did he manage to excel in a relatively short period of time but also exhibited his entrepreneurial and organisational skills. His series Almost There and Musician Portraits required considerable efforts from his part to make the collaboration between him and some of the busiest musicians of this day as smooth as possible. To provide for Across America he depended on crowd funding and returned the favours of the contributors by sending them his paintings. His favourite artist Edward Hopper asserted, The inner life of a human being is a vast and varied realm. Let us then try to peep into the heart and mind of this young painter.
Shay Kun grew up in an environment that smelled heavily of poppy, turpentine and linseed oil. And by the time he was perfecting his first vocabulary he already started differentiating the depth of oxide red from the earthy tone of burnt sienna and identifying the radiance of cadmium yellow from the calmness of cerulean blue. Well, to be fair, much of this learning was absorbed unconsciously by him from his immediate environment after he was born in 1974, Israel, to parents who are themselves noted artists. Naturally, his creative enthusiasm in those days knew no boundaries. He graduated from Bezalel Academy of Art and Design, Jerusalem, Israel in 1998 with a BA in Fine Arts and followed that up with a Masters Degree completed from Goldsmiths College, London, England, 2000. He felt the atmosphere in Goldsmiths College to be intellectually stimulating but finding his own voice needed much contemplation from his part. In the end, after much mulling over, he did manage crafting a unique pathway for himself that he may call his own. To some extent, an amalgamation of his mother’s optimism and tender–heartedness showcased by her art and his father’s way of interrogating the darkness and decay of the age through his paintings could be seen into Shay Kun’s work.
An artist’s eyes always remain engaged in search of visual poetry even at the seemingly unlikeliest of the places. The rhythm in massive brick structures, nostalgia associated with rain soaked streets or the irony of multitude jostling in every street corner without even knowing each other hardly ever eludes Nathan Walsh. And, the artist loyally keeps on registering every mood of a throbbing city on canvas. Be it on the Sicilian Avenue, in the Rainy Afternoon in Chicago or in New York Sunshine Nathan Walsh’s mind remains ever alert picking up the glittering verses that the city whispers into his ears. He also takes artistic liberty in fusing time and space to create paintings like 23 Skidoo or Multiverse – a playful geometric maze that can only be painted through such creative consciousness.
Nathan Walsh was born in 1972, Lincoln, United Kingdom. He completed BFA from Liverpool School of Art and then earned his MFA from University of Hull. His unique artwork has been exhibited worldwide, including in Metro Gallery, Australia 2012, KIAF 11 Korean International Art Fair, Seoul, Korea 2011, Persterer Gallery, Zürich, Switzerland 2010, Strictly Visual, Lois Lambert Gallery, California 2005 and SW1 Gallery, London. His name is mentioned along with many other prominent artists in British Artists since 1945, London: Art Dictionaries LTD by David Buckman. Learn more of Nathan Walsh as he continues his exploration of urban vista through the vocabulary he is most skilled at – art.
Michelle Dunaway was born in Alaska where she spent many of her nights watching the fascinating colours of the night sky created by the northern lights. She moved to New Mexico in her teens and was greeted by the enchanting beauty of the land. But the enigma that captivated her most since her childhood was the expressions, often ephemeral in nature, on the faces of human being. As her fondness for painting grew with time, she actively engaged her brushes in tracing the obscure language of human sentiments being expressed through the whole body. In the process she took training in the prestigious Art Center College of Design in Pasadena, California; earned awards and recognition including an Award of Exceptional Merit from Portrait Society of America’s International Portrait Competition, 2010; involved herself in teaching at California Art Institute, Westlake Village and at Los Angeles Academy of Figurative Art; and established herself as a premier visual chronicler of life. Her portraits and figurative paintings, ‘Remembering Home’, ‘Strength and Grace’ or ‘Poetry’ aptly depict what has long been suspected, that, ‘Beauty is truth’s smile when she beholds her own face in a perfect mirror.’