For Atlanta-based artist Kojo Griffin’s second solo show at Quality Pictures, he continues to pull back from the direct irony of his earlier work, in which cuddly animals moped through quotidian human existences. (Think Richard Scarry meets Kafka.) The six paintings in Swing States hew closer toward abstraction, as his usual characters morph into monochromatic silhouettes that haunt empty, vaguely corporate spaces. Though it hardly eases up on the abject misery, it shows Griffin’s aesthetic maturing into more complicated, formal terrain.
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