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Jennifer Davis On Symbols, Creatures And The Inner Child

January 17th, 2010 · 1 Comment

One of my favorite artists, Jennifer Davis, has a fantastic and *affordable* show at Walker Contemporary in Boston. (Most pieces are under $700.)

For those not familiar with Davis, her paintings are fascinating in a way that makes you want to revisit them again and again.  She has cultivated her own language of symbols and creatures and other visual oddities which she talks about in the interview. Davis’ paintings are mind-bending yet beautiful and surprisingly serene.

Interview with Jennifer Davis:

AH: Tell us a bit about the work in this show.
JD: This show features a series of mostly small-ish acrylic/graphite painting/drawings that I made during the past year or so.  These paintings are reflections about my life, the people around me and trying to live as an artist in these crazy times.

AH: There are certain themes that are prevalent in your work (faces/masks, musical instruments, balloons, ferns/branches). What kind of significance do these themes have for you?

JD: Each object has a kind of invented meaning for me and I just keep returning to images that resonate. My made-up vocabulary of symbols is always growing and changing. For example, I am currently obsessed with drawing a tuba on everything.  ha ha.  I am surrounded by a lot of music/musicians so I am just using a tuba as a beautiful representation of various musical themes that pop into my head.  Nothing very deep or tricky going on there.

AH: Some of your paintings include what seem like partially-human creatures, which often blur the line between cute and strange/creepy. Who are these creatures? Do you identify with them?

JD: Absolutely.  The animals and creatures in my paintings are symbols too.  I use them as stand-ins for people.  Cats, horses, dogs, monsters all have their own “personality” traits that I project onto the people in my life, strangers, myself and humanity in general. Sweet and soft balanced with more feral qualities, as humans tend to be.

AH: Much of your work has a distinct femininity to it (delicate lines and patterns, pale colors, little girls), but the feminine sweetness seems to be intertwined with loneliness. Do you feel there is a connection between innocence/sweetness and sadness?

JD: I try to strike a cord by finding a balance between things I find beautiful and darker themes running  just below the surface.  If I painted my pictures with dark bold colors (as has been “suggested” to me many times) they might seem overly gloomy and depressing.  Instead, I think they celebrate beautiful things as if through the eyes of a child that has reluctantly grown up a little bit.  I take such great joy in the act of painting so it is funny/odd that they sometimes look very somber.  Maybe today I will paint some smiles!

AH: What are you painting now? What’s next?

JD: I am currently painting like crazy for a big solo show opening Feb 5th in Ontario, Canada.  After that I have a solo show of drawing/paintings on paper at First Amendment Gallery in Minneapolis (  I will also be showing at the Minneapolis Institute of Arts in Oct.

Thanks, Jennifer!

Marcie Paper’s Paintings for the Recession

December 18th, 2009 · No Comments

Last week I had the pleasure of meeting the lovely, Brooklyn-based Marcie Paper and gaining a better understanding of her work. I came across Marcie’s ingenious series, Paintings for The Recession, online and it really resonated with me. Paper has found a way to make the art she wants to make while also offering compelling pieces for low-end art buyers. So far Marcie has made more than fifty Paintings for The Recession and sold most of them, many to fans without the means to purchase her larger paintings.



julythird_70(Paintings above available through the artist for $50, $50, $70)

Marcie works on two series simultaneously: her larger paintings, which take months, sometimes years to complete and her Paintings for The Recession, which are small exercises completed in a few days or weeks. Each Painting for The Recession represents a memory from that day in Paper’s life, a visual representation of a mundane yet significant detail (examples include seeing a mob of umbrellas, her knitting group or a leaky roof). These more modest paintings also allow Marcie to tease out specific ideas before layering them into her larger pieces.


Marcie’s larger paintings document these daily occurrences over an extended period of time. When Marcie runs out of space, she simply paints over the paper and starts again. The layers upon layers of paint harden the paper and make it heavy, turning it into a physical object as much as a painting. I never would have appreciated the incredible amount of work that goes into these pieces without talking to Marcie and watching her animated paintings, which show a painting’s typical progression. Marcie’s larger paintings are currently on display at Tinlark Gallery through December 19th.

Overlooking Artistic Self-Importance, If The Art Is Good

November 16th, 2009 · 7 Comments


FF_Holyoke-Hirsch_2Maxwell Loren Holyoke-Hirsch, a San Francisco-based artist, has a great show, Megarealms, open through the end of the month, in which his bright, imaginative paintings and collages are clustered like mosaics.

In an effort to learn more, I read Maxwell’s interview for the show and was really disappointed by the presence of self-aggrandizing and hyperbolic statements.  First, Maxwell makes the claim that he “is the hardest working illustrator and artist based in San Francisco, California.” Secondly, he attempts to explain the title of his show and goes down an ugly path: “A place I have created from the conscious and subconscious mind, a Megarealm is where I explore the areas of my brain, ideas, of thought itself, as they pertain to an image.” This statement feels contrived and purposefully obtuse, and as far as I’m concerned, the gist of what he’s saying is fairly obvious, that he used his brain to create his work.

Despite the over-the-top interview, Maxwell succeeds at creating art that is fresh and compelling which, in the end, is what really matters. Below I’ve picked out my favorite pieces available through the gallery’s website.