Women are the principle gatherers of Bush Tucker and it is an important part of everyday life within the family clan. This particular painting, Grandmother’s Country, depicts women collecting food and also celebrates the fertility of the land. Aboriginal paintings are based on the myths of the Dreamtime. In modern dot representations, the sacred aspect of the painting is not always revealed, but the meaning remains, transmitted through symbols that are easily understood.

Each person has a particular Dreaming to which they belong and they have special ceremonial dances and songs that combine together to form a unique belief that makes up the lives of the Aboriginal people. All things relate to the land and thus the land is of great importance to them. The land is the keeper of the Dreaming and must be kept safe for all time so that the Dreaming stories, which are told in the paintings, can be preserved. Gabriella Possum Nungarrayi is one of Australia’s premier female Aboriginal artists from the Central Desert who is currently working in Melbourne. At an early age, Gabriella began painting alongside her father the renowned, Clifford Possum Tjapaltjarri, whose works are represented in major galleries and private collections worldwide. He passed on his skills to his daughter, whose paintings reflect his unique style.

Gabriella Possum Nungarrayi is one of Australia’s premier female Aboriginal artists from the Central Desert who is currently working in Melbourne. At an early age, Gabriella began painting alongside her father the renowned, Clifford Possum Tjapaltjarri, whose works are represented in major galleries and private collections worldwide. He passed on his skills to his daughter, whose paintings reflect his unique style.

Beloved LA graffiti artist RISK makes his LA Art Show debut with two sculptures from his ongoing “Shark” series that has evolved to explore predators in their many forms. One of the most talked about sculptures of 2018 was his bisected police cruiser, an actual cop car dipped in formaldehyde and sliced open “like bacon,” revealing the vehicle’s inner workings. For the show, this controversial piece will be juxtaposed with a similar sculpture of a shark comprised of spare machine parts. Inspired by Damien Hirst’s “Natural History,” the pairing is a commentary on how police “patrol the hood like sharks.” “Embrace what you fear” is an idea that stems from Buddhist teachings and RISK’s bisected cop car was the surprise outcome of a meditation on this principle.

The project actually began as a sculpture of a shark and metamorphosed into a different kind of predator, complete with its own version of telltale fins, shape and color palette. Across from it will be the finished sculpture of the shark he originally intended to create – a predator from a different era that still strikes just as much fear.

Scott Hove returns to LA Art Show this year with this museum-scale wall installation, “The Best Days of Your Life, an Atlas”. Formerly known for the first large scale archway at Littletopia, and then for his widely acclaimed cake-themed mirror infinity chamber, Hove is presenting a more detailed and crafted wall piece that will illuminate minds and the immediate space.

For this sculpture, he has used a more painterly approach to composition, and has applied multiple illumination points to provide a sense of radiant heat and fantastical texture to engage viewers in a very active way. The 36 gallons of acrylic “frosting” create a compelling illusion of imminent satisfaction, and a re-imagined and idealized contextualization of personal memory. For much of Hove’s work, artifice serves as a medium to support a fantasy narrative that can seem at once safe and inviting, and then questionable and menacing.

Scott currently lives and works in Los Angeles.

Development of Kim Tae-Ho’s most recent works coincided with the turning of the millennium, about the year 2000. Focusing on brush strokes and the application of color, for the most part, these works appear to be vastly different from his previous works.

Above all, concerning the changing of appearance, thick layers of paint form bulky masses, which clearly diverge from his previous two-dimensional illusionary pieces. Simultaneously there are differences in physicality, and they differ uniquely from the full compositions of his paper works. Regarding the process, he first draws interwoven lines. He creates a fixed rhythm, and after building up twenty layers of paint, he then scrapes away the dense accumulation of paint. Color that is hidden beneath rhythmically comes alive within the structure. Countless visual spaces are constructed within the overlapping grid formation; each cell is comparable to a beehive, producing its own life in the realm of painting.