The artist here uses the human figure in the paintings as an unveiled reality ready to surprise with unconventional iconography of happiness in the medium tradition.

Result #1

The artist here uses the human figure in the paintings as an unveiled reality ready to surprise with unconventional iconography of happiness in the medium tradition. For example, a woman with her back to the viewer is shown holding a flower, which appears in three variations in a palette of red, yellow, and blue. The red version is the most striking, with the little red blossom and the women hands and feet, but the yellow and blue versions are equally effective in a way that is neither too artificial nor too naturalistic. The colors are bright and vivid, and they have a different resonance in each painting, creating a space of vivid illusionism.The exhibition was divided into three sections. The first section was devoted to the figure of the house. In the first of the three sections, the house is represented in the form of a building, with its various parts, all of which are painted in a single color. The painting is divided into four sections: two are made of two-by-two-foot panels of painted wood; one has a piece of clay placed on it; the other two are made of painted wood, with their interior painted in the same color. The house is split into three sections, the first of which is represented by a stairway, the second by a staircase and the third by a doorway, and so on. The stairway leads to a stairway, which is divided into three parts. The first two sections are painted in black and white; the last one, in red. The stairway and the door to the stairway are the same color as the houses. The stairway leads to the house and the door to the house leads to the stairs, but the house is closed. The painting of the door is the only part of the door that has been painted in the same color. The doors are painted in the same color as the rest of the building. The stairway leads to a stairway, which is the same color as the houses. The stairway leads to the house and the door to the stairs, but the house is closed.

Result #2

The artist here uses the human figure in the paintings as an unveiled reality ready to surprise with unconventional iconography of happiness in the medium tradition. She has created a delightful, if somewhat aloof, collection of love-filled, almost cartoonlike, love scenes, in which the body is a stylized ball and a head is a bowl of cereal. While these works are amusing and highly suggestive, the subject matter is often the artist herself—a concern that is most apparent in the works titled Love, Love, Love (all works 2004). In this series, she seems to be contemplating her own weight, the weight of her past, and the various ways in which she might be perceived by others. The pictures of her body, which she appears in the guise of a variety of characters, are framed by the edges of the canvas and are thus the only part of the composition visible.In the works titled Loves, Love, Love, Love, Love, the artist depicts herself with her mouth ajar, laughing and smiling, but not kissing. This image, which has been blurred by the use of black on white, is an almost fairy-tale-like image of her smiling, but also a sobering portrait of the artists own self-consciousness. In Love, Love, Love, Love, Love, Love, Love, the artist, who is also a painter, paints her own face with a brush. This image of herself is blurred by the use of black on white, but is still recognizable as a form of self-portraiture. In Love, Love, Love, Love, Love, Love, Love, Love, the artist appears to be trying to paint the world.

Result #3

He uses the figures, always at the edge of freedom, as a means of reanimating a world that is forever falling apart.

Result #4

The artist here uses the human figure in the paintings as an unveiled reality ready to surprise with unconventional iconography of happiness in the medium tradition. These paintings, with their flickering images of children, adults, and children at play, can be seen as a commentary on the current trend of painting as a substitute for the real world. The works are abstract and easily readable, but also strongly suggestive, as if they were based on the memory of real-life events. The paintings are not only abstract, but also figurative, as if they were figurative versions of the figures in the works. They are not just abstract, they are figurative as well. The figure is often found in the form of a child, in the form of an object, in the form of a person. The figures in these works are all equally real, yet not all of them are children, and their forms are not the same. There are no children in the large-scale paintings, but in the smaller ones, the figures are often different in size, and their skin tones are not the same as the ones in the larger paintings. The paintings are therefore a commentary on painting as a medium.The paintings are constructed in a manner that is very simple. A simple line of paint is stretched over an ink-on-paper drawing, then covered with a color, then covered again with another line of paint, then another color, and so on. The line is not the only element, however, as the paint is applied with a brush and the colored pencils and markers are scattered about. The paintings are all black, and the lines are drawn with black on paper. The black marks are not the only reference to blackness, however, as the black on paper also refers to a black background. The marks on the paper are made by the brush, and the brush is made by the paint. The paintings are not black, but black on black, and the brush is black, the paint is black on the paper.

Result #5

His expressionistic use of the human figure is here tempered with a sensibility that is poetic and poetic, and which is as enchanting as it is strange.