Integrating human passions and emotions with allegorical storytelling, the wonderfully beautiful and eclectic works by Teresa Oaxaca are on view soon during a solo exhibition. Where and when?
Although accomplished painter Teresa Oaxaca uses traditional media and techniques such as paint on canvas and charcoal on paper, her pictures cannot be described as anything but thought-provoking, moving, and completely original. Opening on April 7 at The Art League Gallery in Alexandria, Virginia, “Misfits” is Oaxaca’s latest display of beauty, color, allegory, and costume. As she describes it, the exhibition “will push the boundaries of the room by hanging very tall and thin works to challenge viewers’ impressions of scale and traditional composition. Negative wall space will also be considered in hanging the show, and will play a role in how the painted artworks are viewed. In addition to this, the works will be exhibited inside unique, artist built and painted frames.”

Teresa Oaxaca, “Pursuit,” oil on canvas w/artist-made frame, 34 x 34 in. (c) Teresa Oaxaca 2016

Continuing, Oaxaca suggests, “My recent work has explored the themes of clowns and dolls, human effigies and painted faces. Portraiture and still life are blended in unusual and almost abstract layouts that use obscure perspectives while obeying gravity, form, and light as an old master would.”
“Misfits” will hang through May 1. To learn more, visit The Art League Gallery.
This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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