Allison Schulnik

Boneless Horse, 2012. Oil on linen, 68 x 84".

Cemetery Boo 2 and details, 2012. Oil on linen, 72 x 60".

October Flowers, 2012. Oil on canvas, 20 x 17".

Cemetery Boo and detail, 2012. Oil on linen, 68 x 84".

Green Wood #1 and detail, 2012. Oil on linen, 68 x 96".

The Scarecrow (Ray Bolger), 2012. Oil on linen, 84 x 68".

Hydrangea, 2011. Oil on canvas stretched over wood, 32 x 20".

Fish Heads, 2012. Oil on linen, 36 x 48".

Protea, 2012. Oil on canvas stretched over board, 30 x 24".

Cat Head, 2011. Oil on linen, 24 x 24".

Sebastian, 2012. Oil on linen, 96 x 68".

Pink Shells #1, 2012. Oil on canvas stretched over board, 16 x 20".

Mermaid with Legs # 2, 2012. Oil on linen, 60 x 48".

Captain, 2012. Oil on linen, 68 x 84".

Sailor with Mother Cat, 2012. Oil on linen, 68 x 84".

Clown with Hands and detail, 2011. Oil on linen, 84 x 68".

Hobo Cat Family (Mother Cat), 2011. Oil on linen, 16 x 20".

Hobo Clown with Bucket, 2011. Oil on linen, 84 x 68".

Rhys Johnson Koh, 2011. Oil on linen, 24 x 30".

Two Clowns, 2010. Oil on canvas, 30 x 40".

Big Brown Monkey Head, 2009. Oil on linen, 60 x 60".

Home for Hobo #2 (Currier and Ives), 2009. Oil on linen, 68 x 96".

Niagara Falls #5, 2008. Oil on canvas, 84 x 136".

Bear and detail, 2008. Oil on canvas, 68 x 84".

Gin on Horse #2 and detail, 2007. Oil on canvas, 68 X 84".

Burned Tree #1 (Joshua), 2008. Oil on canvas, 68 x 84".

What Awaits You,, 2006. Oil on canvas, 84 x 136".

Chyna, 2006. Oil on canvas, 14 x 17".

Ghost, 2006.

Performance #1, 2006. Oil on canvas, 96 x 136".

Ship, 2005. Oil on canvas, 72 x 60".

Allison Schulnik was born in 1978 in San Diego, CA. Lives and works in Los Angeles, CA.

Allison Schulnik choreographs her subjects in compositions that embody a spirit of the macabre, a Shakespearian comedy/tragedy of love, death and farce. The subjects often stare back at the audience and study them as they are in turn studied, aware of their ancestors from the Grand Theme works of the past, the genre paintings that inform them. Although a haunting sense of foreboding, discomfort and unease is palpable, a sense of understanding, compassion and hopefulness for her cast of characters is still evident in the heavy impasto paintings. Her sculptural use of oil paint references her clay-animation background, as a motion-like sensibility affords her paintings unparalleled depth and energy.

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