La Luz de Jesus presents Danni Shinya Luo and Van Saro

La Luz de Jesus presents Danni Shinya Luo and Van Saro. The show will run from November 4 through November 27, 2016. There will be an Opening Reception on Friday, November 4th at 8pm.

Danni Shinya Luo’s female forms breathe with a sensuality and femininity. Shinya’s fluid and organic figures are full of romance, but also of empowerment. No mere pin-ups, her images inhabit a dreamy multiplex of emotions and vocations.

Her past exhibitions meditated on beauty and psychological tension, by indulging femininity in visions of figures and wild creatures. In Shinya’s final exhibition, Mollior, she is returning to the fundamental of the craft, continuing the examination of feminine mystique through lines and limited palette. Mollior, the Latin word for “softer”, a concept that sums up the show’s spirit in entirety, from the subject matters to the style of expression.

Only when we revisit the foundation of art with a softer, purer point of view we can then experience the most blissful enjoyment – simple beauty.

Van Saro got his start on the streets. He grew up in Surrey, British Columbia, not too far from Vancouver, and graffiti art was a big deal. “I would take the bus to the city all the time, take pictures with a disposable camera and try to emulate it,” he says. “I was never good as a kid, but, that’s where we all started.”

Saro was 11 the first time he hit Canadian walls then got pretty heavily into the graffiti world during his teenage years. “Graffiti allowed me to be angry and get out there and paint,” he says.

These days, Saro primarily paints with oils, draws with charcoal and displays his works inside galleries. The influence of the streets, though, is still evident in his work. Saro, who has lived in Los Angeles for over a decade and a half, unveils his latest collection, “Concrete Jungle,” at La Luz de Jesus in November 2016. Among the pieces are painted bank notes from war-torn Iraq and the porous-bordered Turkey–the latter of which bears Armenian critique of the genocide of 1915-17.

It’s a a photo-realistic, oil-painted glimpse into decaying civilization. “I continue to find beauty in the decay,” he says, “but as a father (now) I try to find hope in unlikely places.”

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