Pull Toy

Founded In 1991, originally as Copro/Nason Fine Arts began as an entity to curate art exhibitions at museums and local galleries and publish lithograph & silk-screen prints. The first contemporary cutting edge artists that Copro/Nason worked with were Mark Ryden, Robert Williams, Big Daddy Roth, Shag, Pizz, Von Dutch, Coop and many others. In 1999 Copro/Nason Gallery was opened In Culver City and soon transcended the limits of Lowbrow. By incorporating gothic-inspired visons of fantasy, horror, and surrealistic excesses into an ambitious program, mixing acknowledged masters with newer talents such as Sas Christian, Amy Sol, Audrey Kawasaki, Lori Earley and many others Copro/Nason soon began to take shape. Oil paint is a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirit, and varnish may be added to increase the glossiness of the dried film. Oil paints have been used in Europe since the 12th century for simple decoration, but were not widely adopted as an artistic medium until the early 15th century. Common modern applications of oil paint are in finishing and protection of wood in buildings and exposed metal structures such as ships and bridges. Its hard-wearing properties and luminous colors make it desirable for both interior and exterior use on wood and metal. Due to its slow-drying properties, it has recently been used in paint-on-glass animation. Thickness of coat has considerable bearing on time required for drying: thin coats of oil paint dry relatively quickly. Kathie Olivas is an internationally exhibited multi-media artist from New Mexico. Through her current body of work, the Misery Children, she explores society’s insatiable desire to assign ‘cuteness’ and our discomfort with the unknown. A dark blend of early American portraiture set in post apocalyptic times, Kathie’s paintings and custom toys are a satirical look at how fear affects our sense of reality. One of the central questions raised in Kathie’s work is that of ‘what if’: what if these ‘cute’ creatures had their own agenda? Are they attune to something beyond our understanding, or are we simply too cowardly to acknowledge it? Are their misshapen limbs and plated mouths a deformation from living in a desolate wasteland,or perhaps an adaptation for protection? The Misery Children are meant to evoke a nostalgic reaction that reflects isolation, fear and an uncertainty, yet they also act as empowered alter egos. While these characters explore their new lonely worlds, they double as our narrators. They guide us through their reality as they experience it and yet, even in their company, we are granted no reassurance.