The artwork of Jillian Salik offers up understated surprises. Her new exhibit DUEL TINT features frames, window dressing, and other wall fixtures adorned with baroque ornamentation. However, the typically gilded and gaudy colors that typically accompany such adornments, the reflections and windows that should fit in such frames were no where to be seen. Salik only offers the bare structure of the frames and ornamentation. Also, Salik makes an interesting choice of material: cardboard. She contrasts high-society trimmings and embellishments with a decidedly “low” material and digital production processes.
With his paintings, Adam Miller recontextualizes baroque and Hellenistic style elements by placing them within a modern futuristic landscape. Miller implements mythological, ecological, and humanistic themes in order to address ideas of technology and progress and “the struggle to find meaning in a world poised between expansion and decay.” His dreamy and angelic compositions reflect contemporary concerns with a classic and realist style. Imagery that might at first appear dated and inaccessible becomes relatable and modern upon closer inspection.
After spending a few decades shooting high-concept high-fashion spreads for the likes of i-D, Vogue, W Magazine, Yves Saint Laurent, Alexander McQueen and Christian Dior, photographer Nick Knight has recently launched a body of work in London, nearly 10 years in the making. Inspired by paintings from the Baroque period, Knight’s altered large-format photographs of elegant floral arrangements take on a psychedelic, gorgeously twisted liquidity. By exposing the prints to various combinations of heat, chemical and water treatments during the printing process, he’s able to interject each piece with an intriguing, painterly flair.
Photographer Joanne Leah works in “seduction, ritual, and tension”. Her pieces capture relationships, between two people or art and its viewer, as it alternately relaxes and strains. In the series featured in this post the angle of the light is severe recalling the chiaroscuro of baroque painting. The light, though, is cold, almost lonely, emphasizing the solitary figure in each photograph. Whether, the subject holds teeth in her palm or wields a knife a drama is clearly unfolding.
Brighton-based artist Jake Wood-Evans‘ classical influences are readily apparent. A 21st-century Caravaggio? Who knows. But dude’s definitely on the right track. Celebrating his heroes while producing work that’s relevant to his period, Woods-Evans executes drips and fades in disaffected, casual gestures. Laurel wreaths and nuclear explosions are likely to meet in a single composition. If you’re near Brighton next month, check out his work at the Brighton Media Centre the 7th through the 16th. More images of the artist’s work after the jump.