Anna Glantz at The Approach

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Glantz's surrealism has become more subtle, repressed into the paint itself, making you the fool explaining the surface of a face, painting. 

“Portraits” at Foxy Production

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Strange no, that we adorn the world with pics of ourselves? Think of the prevalence of us in stock images, in advertising space, on the broad sides of buses, men and women smiling. And all the possible wishes that artists themselves hadn't given up this form so readily and instead deal with it. There is a lot of information embedded in our visages. A real psychotic kaleidoscope, ourselves.


See too: Peter Piller at Capitain Petzel

“Splendor Solis” at The Approach

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There's a sort of funny documentation choice, Bosmans' paintings in one photo are in the next photoshop erased to leave the wall behind them, the light doesn't change. It's a small decision mildly touching on the artificiality of our cartoon conditions, reality able to be distressed, bent, stretched. The slow feeling of vertigo and stretch, a malleability we all permanently live under and probably why cartoons blitz across art as the world begins to feel more like them, and we look for things representative of it. Even if the paintings were actually physically moved, it would have taken less time to have been done in "post," after, do things to a moment after it has taken place.