LOS ANGELES — Strange Little Beast, Annie Lapin’s aboriginal exhibition at Shulamit Nazarian, hints at the artist’s adeptness — and conceivably admiration — to acrylic like an Old Master, but it additionally indicates an compassionate that she cannot alive in the past. Lapin’s canvases acknowledge her angry bout with post-digital aesthetics as she combines computerized accoutrement with earlier apprehension styles in an accomplishment to acrylic for her own era.
“The On In Outs (heap 5)” (all works 2019) exemplifies Lapin’s ability in amalgam an angel in assorted adverse idioms. The lower bisected of the painting predominantly appearance the forelegs and bleed of a goat. Drawing on Renaissance techniques, representational elements are conveyed application apart brushwork to absolute effect. Where the goat’s chest should be is instead the (headless) apprehension of a amount in formal, three-quarter pose, corrective with post-impressionist brushwork. A accumbent band depicting a mural aloof aloft the painting’s midline is additionally corrective in a post-impressionist style, while a degree of clouds at the top is photorealist; these two bands are again disconnected by a third abstruse band of brushy, poured, and sprayed paint, itself broken by a beeline aspect framing the assuming figure.
If this all sounds chaotic, it is and isn’t. There is a addled affection to this assignment that may leave some admirers activity a little seasick; my eyes bare time to acclimatize to Lapin’s disjunctive pictures and aggressive horizons. Yet already they did, I begin a credible accuracy in her works. Lapin’s abstruse ability is like that of a juggler who can accompanying bung balls, bowling pins, ablaze torches, and a chainsaw. Her paintings arrange a advanced ambit of media including oil, acrylic, flashe, charcoal, glass, and enamel, absolute not alone her ability but her contentment in material. She knows how to administer the blow of one aesthetic cant with another, and excels at application bead caliginosity to actualize illusions of assorted layers aerial aloft the account plane. Lapin’s collaged compositions appearance affirmation of Photoshop, a apparatus she has continued acclimated (though, as she told me at the exhibition’s opening, she uses it abundant added back the bearing of her accouchement because it allows her to analysis amaranthine possibilities after boundless sanding, scraping, or added techniques that actualize toxicity).
Other stand-out paintings on affectation accommodate “Catnose Emergent (heap 6),” “Wolf, Garden, Subduction (heap 2),” and “Halving Having (StepScape 4),” the aftermost addition archetype of Lapin adding the canvas angular at the centermost to actualize two or added aggressive horizons. A cardinal of again motifs are credible throughout this new anatomy of work, some added credible than others. Hands, faces, figures, animals, and archetypal mural elements all recur, consistent in added levels of organization. These capacity advance a painter absorption her (and our) abode in the world. While some artists accomplish adumbration that creates a quiet moment of reflection, Lapin’s places us in the affection of anarchic experience.
Annie Lapin: Strange Little Beast continues at Shulamit Nazarian (616 North La Brea Ave., Los Angeles, California) through December 21.
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