Ocean statement

By GREG COOK  |  September 4, 2013

Johnny Adimando’s Structural Study I-VI are black-and-white prints cut out and layered so that they look like architectural plans for starfighters assembled from recycled and X-rayed rocket engines, gears, columned buildings, and microscope eyepieces.

There’s nothing too ambitious in “Locally Sourced.” The general tone is light, with the best pieces aiming for ingratiating fun. The show is too much a gag to reveal much about what’s going on here — except maybe Rhode Island shenanigans.

 

The recent NecronomiCon fest in honor of the late locally-sourced horror, fantasy, and sci-fi author H.P. Lovecraft has wrapped up, but a lingering echo is “Ars Necronomica,” at Brown University’s Granoff Center (154 Angell St, Providence, through September 13).

It showcases deliciously creepy paintings and drawings of a severed horse head; an Edwardian fellow with his face skinned down to the meaty muscles; a man befriending a zebra in the mountains; and drooling feral demons in a cemetery. Styles tend toward cartooning or, ahem, realism.

Don’t miss Nick Blinko’s pen drawings, particularly Sightings of Brown Jenkin, the Furry Blasphemy. It depicts a feral thing with a bald, bearded man’s head — a reference to Lovecraft’s tale The Dreams In the Witch House — among rats and a skeleton wearing a pointy witch’s head. The creatures are cool, but it’s the background that makes the drawing — a vibrating, crazy quilt pattern of obsessive pen hatching that fills the entire paper horror-vacui-style, wanting to take over everything.
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