I do think we’re in this really interesting time for journalism and photography, in general, where everything has to be right, has to be en pointe, it cannot be misconstrued, because you’ll instantly be on the attack [end] for it.
Suggestion is often more seductive than sheer exposure. Some of the finest artworks in our collective history are mere hints at the dark, sultry corners of our psyche. It doesn't matter if those hints are cast in dark or bright colours: Frida Kahlo, David Hockney, Fiona Rae and Alex Katz are prime examples of painters who employ vibrant palettes in communicating complex, often hidden scenarios of which the viewer desperately tries to unpick and fill. New York-based artist Ridley Howard follows in that grand tradition, upping the ante even further with splashes of eroticism streaked across airy, domestic backdrops. Howard earned his BFA from the University of Georgia, going on to his MFA from Tufts (School of the Museum of Fine Arts). His work has been seen at venues in Los Angeles, New York, Tel [...]
I thought it was a great opportunity to elevate it: more cultured, richer, more inviting, more surprising. To make it more interesting, because these downtowns are dying as more people buy things on Amazon or go to the mall. But Downtown Hollywood is doing well, and I think it has something to do with the Mural Project.
..his paintings and color-pencil drawings are raw, undulating, boldly unflinching glimpses into the visual modalities with which we process words and shapes: loud colors, geometric tessellations, and surreal motion
The goal of my work is not to harm myself. I start with the image/idea and work backward through the logistics.
It's been quite a mentally violent "awakening". OVERLAY is actually a poetic answer to the kind of violence we are enduring, especially as that violence relates to women's bodies and women's civil, political and personal rights.
It’s crucial to me that what I offer to the viewer remains as open as it can be, open to interpretation and all sorts of feelings. All of my work is about that, about facilitating feelings and allowing the viewer to be responsive.
What we found was very violent, very powerful. I wanted the real thing. Not After Effects and postproduction. You don’t cheat.