Andrew Guenther synthesizes a diverse sampling of topics and references both art-historical and from popular culture: death metal, throbbing zombie carcasses, animals, satyrs, hippie kitsch, goats, owls, and the notion of the grotesque. Guenther’s cosmology evokes the work of Francisco Goya and Hieronymous Bosch. Yet his concerns resonate with contemporary society’s ongoing fascination with the gruesome and bizarre, the tragic and comic, exemplified in the films of Dario Argento, or TV reality shows such as “The Swan” and “Extreme Make-over,” and also literature written by J.G. Ballard and Joyce Carol Oates. Guenther utilizes such allusions as a method of highlighting natural human instincts spun out of control. His paintings serve as a form of cultural reactivation, bringing the atrocious to light as a means of re-examining society. Guenther’s palette and loose application of paint present an uncanny expectation, suggesting ghostly figures half present, semiformed, or birthed by accident.