Posts Tagged ‘mixed media

07
May
12

Janet Jones : ‘Notations’ Series (Collages)

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‘Notations #41’
6 x 6 inches
Collage
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‘Notations #7’
6 x 6 inches
Collage
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‘Notations #48’
6 x 6 inches
Collage
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‘Notations #21’
6 x 6 inches
Collage
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‘Notations #37’
6 x 6 inches
Collage
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‘Notations #42’
6 x 6 inches
Collage
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‘Notations #39’
6 x 6 inches
Collage
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“My series is called Notations, and reflects my love of letter forms and typography, of words and language, and a delight in the visual and tactile properties of old books and documents, especially those that are creased, stained and foxed. I’m interested in surface variations and the play of light on shiny areas contrasting with the velvety softness of old papers. In a larger sense, they’re about communication, nuance and layers of meaning. I’ve stencilled some letters in shiny etching ink, occasionally adding metal leaf, and printed letterpress ornaments and a Chinese character. Some papers have been prepared by pouring and splattering India ink. The tiny photographs are my mother at ages 20 months, 3 years, and 25. Other images are from dictionaries and old steel engravings.” ~ JJ

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Janet Jones : Website

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01
Mar
12

Yoonjin Jung : ‘Seeing the Unseen’ Series (Mixed Media)

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‘seeing the unseen’
mixed media
2010
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‘seeing the unseen’
mixed media
2011
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‘seeing the unseen’
mixed media
2010
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‘seeing the unseen’
mixed media
2010
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‘seeing the unseen’
mixed media
2010
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‘seeing the unseen’
mixed media
2010
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The main theme of Yoonjin’s work is ‘Seeing the Unseen’ which has been inspired by the emptiness in oriental painting. Her work explores the meaning of the empty space in oriental painting and the definition of invisibility in relation to the space. In fact some parts of her work seem unused. Yet they have been planned with as much care as the objects. What she wants to do in her work is to help the viewer to see the unseen and sense the invisible through both invisibility and visibility. Then the viewer is stimulated between the boundary of the invisibility and the visibility. – Yoonjin Jung : Artist Statement

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Yoonjin Jung : Website

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15
Feb
12

Hélène de Gottal : Artworks

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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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‘Untitled’
Hélène de Gottal
Mixed Media on Paper
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Hélène de Gottal : Galerie Faider

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11
Feb
12

Tianmeng Zhu : Paintings

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‘Untitled’
Tianmeng Zhu
Mixed media on canvas
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‘Untitled’
Tianmeng Zhu
Mixed media on canvas
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‘Untitled’
Tianmeng Zhu
Mixed media on canvas
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‘Untitled’
Tianmeng Zhu
Mixed media on canvas
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‘Untitled’
Tianmeng Zhu
Mixed media on canvas
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‘Untitled’
Tianmeng Zhu
Mixed media on canvas
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Zhu Tianming : Galerie Faider

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09
Feb
12

Michael Zelehoski : Mixed Media Assemblages (Artwork)

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“Each epoch always has and always needs its oppositions of destruction and construction.” Mondrian

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‘Burned Pallet’
Assemblage
50 x 50″
2011
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‘Box’
Assemblage
22 x 27″
2008
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‘Burned Pallet’
Assemblage
Detail
2011
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‘Folding Chairs’
Assemblage
24 x 37″
2009
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‘Human Lobster Trap’
Assemblage
63 x 93″
2009
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‘Folding Chairs’
Assemblage
28 x 41″
2008
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My recent work involves the literal collapse of three-dimensional objects and structures into the picture plane. This simple gesture – which is basically just taking things apart and putting them back together flat – is at the heart of what we think of as two-dimensional, representational art. I’m just doing it in a very literal way and whereas the whole point of Magritte’s pipe was that it wasn’t. The whole point of these objects is that they are what they are.

I work almost exclusively with found, utilitarian objects such as shipping pallets and boxes. I deconstruct the objects, cutting them into sometimes hundreds of abstract fragments before reassembling the pieces two-dimensionally. The negative space is filled with carefully fitted pieces of wood, creating a solid plane in which the object is trapped in a parody of its former perspective. The object’s concreteness is in direct contrast to the spatial illusionism of its composition not to mention the perceived autonomy of the picture plane.

By unifying the picture plane and the spatial environment, I’m trying to reconcile the dichotomy between pictorial and physical space, art and object, sculpture and painting. Sculpture has been defined as a three-dimensional object in space. These are three-dimensional objects in two-dimensional space and although they find themselves trapped, unable to perform their original functions, they remain active and productive on the level of our experience. These objects, which have always been thought of as means to other ends, have become ends in themselves. – Artist Statement

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Michael Zelehoski : Website

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10
Jan
12

Hiro Yamagata : ‘Transient’ Series (Mixed Media)

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This new series, Transient, is a tour de force that celebrates the cosmic dance between tectonic forces and frail temporal overlays in a dizzying and cinematic symphony of monotones. This series ensures this kaleidoscopic artist will maintain his place at the forefront of the visual avant garde. [Ex – Bill Lowe]

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‘Transient’ Series
Hiro Yamagata
Mixed Media
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‘Transient’ Series
Hiro Yamagata
Mixed Media
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‘Transient’ Series
Hiro Yamagata
Mixed Media
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‘Transient’ Series
Hiro Yamagata
Mixed Media
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‘Transient’ Series
Hiro Yamagata
Mixed Media
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‘Transient’ Series
Hiro Yamagata
Mixed Media
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Japanese-American artist Hiro Yamagata marks a dramatic shift in aesthetic in his new series titled Transient. Known through the eighties and nineties as a master of Pop spectacle, Yamagata transforms his passion for dialogue between macrocosmic and microcosmic considerations into a distinctly new pictorial domain. The result is a profoundly introspective examination of the collective and individual psychic template. This interface is depicted in hauntingly beautiful works done in black and white on hand-made rice paper attached to canvas. Often monumental in scale, these works convey a sense of timelessness and impart an isolation that is both compelling and forbidding. This series speaks to the issue of time, place and perspective while its elements insinuate an unfolding apocalyptic splendor which lies just beneath or above our dimension. A global force in contemporary art for over thirty years, Yamagata stakes a claim in new philosophical terrain with this historic series of somber abstractions. The work calls upon his rich heritage and imbues it with his visionary grasp of the metaphysical and the spiritual. He couples this with an exacting mastery of technique and media to great theatrical effect. BL

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Hiro Yamagata : Website

Hiro Yamagata : Bill Lowe Gallery

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