Richard Speer writes in Art Ltd.:
In a culture alarmingly obsessed with selfies, Kris Hargis is committed to a considerably longer-standing mode of self-depiction: the painterly self-portrait. Hargis often turns his restless vision and gifted hand to his own visage- and not in any apparent impulse toward self-aggrandizement, for the resulting images are harrowing. Gaunt and spindly, his figure reads as ravaged, his face self-aware, self-critical, melancholic, and existential, even when he dons a whimsical cowboy get-up, as he does in one of the mixed-media works slated for his upcoming Froelick exhibition. The classic Hargis self-portrait is a kind of early 21st century update of the wiry, sinewy-yet-sickly Egon Schiele figure, now infused with postmodern angst. Hargis is also a gifted floral still-life painter who depicts flowers with the same implied physical and metaphysical desiccation that characterize his figures. With this show, he also debuts a suite of sculptural works. In pieces such as "Man and Dog", "Right Over Left" and "Sittin' Tight", he employs clay, wood, steel, wax and a panoply of less conventional media, including elk and deer bone, hemp fibers, Damar crystals, and brick. Throughout the three bodies of work, his style and viewpoints are consistent, engaging and poignant.
Download: Kris Hargis an Art Ltd. Critic's Pick