Via intimate and cautiously manufactured figurative paintings, San Luis Obispo, California-dependent artist Laura Krifka (formerly highlighted here) dissects the mechanisms of ability, identification, and observation discovered in visual tradition. With non-descript references to the historical past of portray, Krifka incorporates the up to date frameworks of movie and photography into her comprehension of portraiture and psychology. By collapsing many sights of the similar pose, subject matter, space, and time into every single painting she generates scenes that surface deceptively simple, but are rife with distortions, puzzles, and physical impossibilities that make visual factuality tenuous and challenge a viewer’s perceptual capabilities.

Krifka directs each sophisticated narrative as paintings unravel and reform slowly but surely around months and even years. Protagonists inhabit domestic areas, sometimes gazing assertively out of their canvases, other moments disappearing into the wallpaper, but usually susceptible. Her figures occupy different states of undress, preparing, or perform, expressing an ease with intimacy and an acknowledgement that the act of searching is a central element of need. The satisfaction of observation is echoed in Krifka’s possess words and phrases: “…our pleasures and perversions have been molded by the fictions that permeate our ubiquitous visual society. That our most key wishes are partly fashioned by our codified, collective activities is a resource of unlimited fascination for me.”

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