Adam Miller, “A Dream of Paradise Remembered by the Morning Light,” oil on canvas, 78 x 62 inches

An incredible body of contemporary paintings that explore the universal struggle to retain memory and identity is currently gracing the walls of Booth Gallery in New York.

Visitors to New York City’s Booth Gallery will be able to view masterful multi-figural paintings by Jean-Paul Mallozzi, Adam Miller, and Lou Ros from June 3 through July 1. Titled “SOLACE,” the exhibition is a striking demonstration of how contemporary realist painters use traditional techniques to explore modern psychological and existential themes.

Lou Ros, “INC10,” multimedia on canvas, 65 x 50 cm.

“Jean-Paul Mallozzi paints figures that inhabit their environment in isolation, even in groupings that denote relationships” the gallery suggests. “He depicts an emotional state that has been represented by colorfully abstracted, thick pools of saturated paint. The faces and identity of the figures have been purposefully distorted, so as not to be read in an analytic fashion, but rather poignantly felt. His figures find solace in each other, or from within.

Jean-Paul Mallozzi, “Broadway & Prince,” multimedia on canvas, 42 x 36 inches
Lou Ros, “Playmate #6,” multimedia on canvas, 200 x 160 cm.

“Adam Miller orchestrates garden themes in a Grand Manner straight out of the 16th century Baroque. In his enormous painting ‘Quebec,’ he takes on the two incredible tasks at once. One, he tells the story of a nation’s struggle for autonomy in the face of racism, class struggle, and the inevitable in-fighting that every revolution faces. And two, he takes on the mantle of History Painting, once considered the highest form of painting in the West, and which has not been attempted on a level this ambitious in decades.

Jean-Paul Mallozzi, “Goomba,” multimedia on panel, 48 x 36 inches

“Lou Ros is a self-taught, former graffiti artist whose Expressionistic portraits and multiple figure compositions are painted in the pale colors of faded nostalgia. His bittersweet imagery conveys a sense of loss, of remembered details that evoke a memory but are not enough to bring it clearly to the forefront of consciousness. In not saying too much, he says more, leaving the unfinished narratives up to the viewer to resolve.”

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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