Julie Unruh is interested in identity construction and particularly in the disconnect between personal and shared experience. She utilizes realism, but her paintings also explore the role of the viewer in the creation of coherent images.
Through colorful works that on first glance look playful and whimsical, Khanâ€™s work illuminates a dark and complex political struggle with violence and identity that takes place through, on, and in public vehicles.
I paint figurative works in oil or gouache on paper and board. I frequently incorporate collage into the work. I use color and pattern to evoke emotion and tell stories of daily life where the viewer is drawn into an intimate world.
rotate / repeat / scale / move / subtract / is a series of abstract works on plywood I've created over the last four years; in it, I try to deliver the purest aesthetic experience with the simplest, and most economical means possible
I use kids toys and common household objects to make paintings. My first major solo show in NY was called “Remote Control” at Roebling Hall Gallery in 2009. The paintings were made with remote control cars.
My history paintings reflect life experiences of Brooklyn communities; immigrants, mom and pop shopowners, war veterans and 'ordinary people' who all have stories are the subjects of my colorful, expressionistic images.
Awareness of the vibrational nature of the universe informs every aspect of my work: gilded paintings with metal leaf, pigments, crystals and mother-of-pearl or digital prints of painted gouache mandalas.
What would Carl Andre do if he were part black? Or Ed Ruscha if he were raised bilingual?
The challenge of colliding the personal-is-political discourse with the legacy of conceptual and minimalist art practices is what motivates me.
I shoot overlapping multiple exposure photography, panoramic in shape, with a plastic camera (Holga). These unplanned juxtapositions capture my experience of a particular time and place and at the same time have an identity all their own.