• The Proposition is pleased to present five years, a group show from a selection of artists who have all had solo exhibitions with the gallery since opening in 2002. The work is mostly small in dimension, with an emphasis on figurative portraiture. Through different methods of practice, and using a range of media, these artists comment on identity via circumstance, while managing to maintain a light optimism.

    Catherine Brooks’ work centers on gender identity and the acts of exhibition and voyeurism. Her small paintings pop with texture, a bold use of color and the vibrant personalities of her subjects. Through the women she portrays, in their playful, revealing poses, Brooks makes the forbidden tantalizing while exploring fringe cultures of society.

    The patchwork imagery in Tim Evans’ paintings and the process that he undergoes to create the wax and acrylic works reveal his manga and anime influences. Through his own imagination and editing of source material, Evans creates unique layered paintings on mylar and canvas that result in a collaged rush of stimulus.

    Allison Hawkins’ intimate drawings appear delicate, but within the calm landscapes lie a veiled intensity. A sense of nostalgia pervades her quiet scenes and portraits, which often involve Native American mysticism and sage creatures. The soft washes of color and inky renderings mark the artist’s own recollections and explorations from her childhood.

    Kyung Jeon involves mischievous fairies in a tempting style that draws the viewer in to notice the intricacies of her sprawling stories, which often entail darker subject matter. Against the textured backdrop of rice paper on canvas, acts unfold from the innocuous to the twisted, making statements on socially prescribed notions of conduct and traditions.

    Mike Park deals with anxiety and sexual inhibition through his autobiographical work. The pastel hues of his polymer coated acrylic paintings and whimsical illustrations distract from the wayward behavior of his characters. The blending of several narratives, some playful and others more sinister, reflect on forlorn identity.

    Dane Patterson’s tightly rendered graphite drawings depict unusual yet ordinary circumstances, which are based on his photographs of staged scenes. The results, while providing little insight into the curiously covered and displaced figures, border the humorous and surreal.

    The figures in Balint Zsako’s succinct works – linked with machines, dismembered, or planted in the earth, interpret relationships and transience through a bold, illustrative style. Playful and perverse, Zsako manages to balance extreme imagery with a seemingly blithe approach.

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