“Fuck making a good painting…try making an interesting one.”
Exploding with images culled from diverse sources—animator Ralph Bakshi, deviant Japanese mythology, latent Italian Futurism—artist Jamian Juliano-Vallani creates bizarre exquisite corpse paintings with an eerie airbrushed perfection. Weird as the results are, and adamant as Vallani is that you don’t need a discourse to understand her paintings, it would be reductive to write them off as some kind of subversive 2D pop art hallucination. Pasting together non-sequiturs of the Internet variety, the graphic, hyperreal commerciality produces a sort of absurd poetic existentialism. Dali and Kierkegaard’s hypothetical baby would be proud. -Emily Friedman
Stone Love, 2015 Acrylic on canvas, 30 x 24”
Substance Free, 2015 Acrylic on canvas, 48 x 40”
The Entertainer, 2015 Acrylic on canvas, 48 x 40”
Whirlpool of Grief, 2015 Acrylic on canvas, 50 x 73”
Issue 14: Jamian Juliano Villani
PUBLISHED IN ISSUE 14
“Fuck making a good painting…try making an interesting one.”
Exploding with images culled from diverse sources—animator Ralph Bakshi, deviant Japanese mythology, latent Italian Futurism—artist Jamian Juliano-Vallani creates bizarre exquisite corpse paintings with an eerie airbrushed perfection. Weird as the results are, and adamant as Vallani is that you don’t need a discourse to understand her paintings, it would be reductive to write them off as some kind of subversive 2D pop art hallucination. Pasting together non-sequiturs of the Internet variety, the graphic, hyperreal commerciality produces a sort of absurd poetic existentialism. Dali and Kierkegaard’s hypothetical baby would be proud. -Emily Friedman
Stone Love, 2015 Acrylic on canvas, 30 x 24”
Substance Free, 2015 Acrylic on canvas, 48 x 40”
The Entertainer, 2015 Acrylic on canvas, 48 x 40”
Whirlpool of Grief, 2015 Acrylic on canvas, 50 x 73”
Baby Made of Stone, 2015 Acrylic on canvas