Louise Bonnet uses the language of humor to talk about things that are sad. Her quiet paintings of oddly distorted figures are rendered in a cartoony style reminiscent of artists like Peter Saul or Kenny Scharf, but where theirs are riotous and boldly colored, Bonnet’s are placid and softly luminous. Her first solo exhibition at Mier gallery in Los Angeles feels like a fresh take on the now familiar intersection of painting and comic book style.
The L.A. artist’s closest touchstone may in fact be Philip Guston, whose late work employed a roughhewn graphic style to paint brilliant images of existential dread and loneliness. Bonnet’s work is more polished, harking back not to Abstract Expressionism but to the Old Masters. It’s a