What You Need To Know About Craig Alan’s Artwork
Craig Alan has an insatiable need to see new things. Therefore, he constantly challenges the boundaries of visual expression. Alan’s corpus of work includes elements of pop-surrealism, magic realism, and neo-expressionist abstraction and representation. His most recent series, titled Populus, has paintings that feature hundreds of tiny individuals on white backdrops and veer away from the artist’s signature formal motifs.
Craig Alan, a contemporary pop artist, pays homage to the likes of Andy Warhol, Jeff Koons, and Roy Lichtenstein in his own unique way. His most famous series, Populus, serves as a gentle reminder to take a step back and see things from a broader vantage point. The experience of taking in the big picture and then getting lost in the details of one of Alan’s pieces is always fascinating.
When examined more closely, it becomes clear that the paintings are not photographs but rather the work of skilled artists. Alan’s images of a wedding reception taken from a high-rise balcony served as inspiration for the series ” Alan predicts that 400-1,800 people will be involved with each item, depending on its complexity. “Depending on the scale, he can spend anywhere from 50 to 150 hours on one painting… yet he likes to work on multiple works at once.” He usually has four or six paintings going at once. He is energized by the challenge, and new ideas emerge as a result.”
The photos are impressive since the viewer can tell that numerous well-crafted people are included. It’s rewarding for Alan as an artist to see the pleasure his work brings to others. With his artwork, he hopes viewers will realize “that we are all part of something greater than ourselves, and if collectively we work, we may accomplish better balance.”
The Populus series is a world apart compared to Alan’s other works. Works that recall Basquiat may be found in a cross-section of his Motivo series, which spans anything from luminous abstractions to paintings of abstracted figures floating on expressionistic grounds to more conventional abstracted figure paintings.
Alan’s “Novel Anthology” series is a mashup of traditional representational methods; it centres on children with animal heads that lurk in foreboding woodlands or dingy interiors. Dresses appear to float in the air in other images after the subject has been cropped out.
These pictures remind me of the works of pop-surrealist artists like Ray Caesar, Mark Ryden, and Todd Schorr. Not only does Alan say that his pictures are supposed to be taken at face value, but he also provides extensive captions explaining every feature of his pictures, turning them become illustrations rather than works of great art.
These two groups of paintings have no connection, according to the artist. Alan’s greatest reward in his career as a self-described “old-school” postmodernist painter is the opportunity to remark on the art world through his work. Alan claims he doesn’t use a conceptual framework like this in order to keep his paintings fresh. Instead, he merely steals ideas from elsewhere.
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