Jason Shawn Alexander, “Threesome,” mixed media on canvas, 72 x 60 inches

Two Los Angeles-based artists are currently presenting evocative new bodies of work that are full of emotion, subliminal communication, and so much more. Don’t miss it!

Their styles may be different, but the impact is the same. Opened on May 6 and on view through May 27 at Booth Gallery in New York City, “Subliminal” presents the recent works of Los Angeles-based painters Jason Shawn Alexander and Stephanie Inagaki.

Jason Shawn Alexander, “Body,” mixed media on canvas, 54 x 29 inches
Stephanie Inagaki, “(in)resolve,” charcoal and washi on paper, 24 x 46 1/2 inches
Stephanie Inagaki, “(within) constraint,” charcoal and washi on paper, 24 x 46 1/2 inches

Both artists are self-described figurative painters, but that’s only where their works begin. Alexander creates life-sized to over-life-sized, towering pictures of exposed bodies. Through expressive body language and degrees of abstraction, Alexander’s paintings offer stories to their viewers. Speaking about his current work and Inagaki’s, Alexander suggests, “You cannot simply hang either of our works ‘safely’ on the wall. The work for this show is challenging, both in interpretation of the lives being portrayed, and directly due to the images ‘seeing’ the viewer or the imposing scale. These works have much more going on than simply figurative art. These are works that tell stories. Our stories, told through figurative work. Some of it is right there, splashed in front of you, but most of it is in the subtitles, almost subliminal.”

Jason Shawn Alexander, “Judith,” mixed media on canvas, 70 x 50 inches
Stephanie Inagaki, “Equanimity,” charcoal and washi on paper, 23-1/2 x 45-1/2 inches
Stephanie Inagaki, “The Reluctant Passing,” charcoal and washi on paper, 29 1/2 x 33 1/2 inches
Jason Shawn Alexander, “The Great Egress,” mixed media on canvas, 72 x 60 inches

Inagaki works in mixed media to construct her figurative stories and “portray characters that hold direct eye contact with the viewer,” the gallery writes, “daring them to seek meaning within her mythological-based narratives. Both Inagaki’s and Alexander’s figures are vessels for stories, purposed to transfer emotion and human experience.”

To learn more, visit Booth 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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