Posts Tagged ‘paintings

07
Jul
12

Cristian Del Risco & Martin Fojtek : ‘Dreamless’ Series

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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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These five portraits (giclée prints on canvas) were made by Martin Fojtek and then hand finished with acrylic paint by Cristian Del Risco, making each and every photograph a real original. Both artists worked independently on them with very little influence on each other. The final results are a very interesting combination of minimalistic black and white portraits (two Arabic, Belgian, Italian and Czech personalities, all with particular emotional expression) and colored acrylic ‘J.M.Basquiat’ style paintings.

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Cristian Del Risco & Martin Fojtek : Fotografic

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11
May
12

Graham Gillmore : Paintings (Works on Panel)

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‘Sunset Applause’
Oil and enamel on panel
Graham Gillmore
80 X 60 in
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‘Answers To The Questions To The Answers’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
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‘After You’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
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‘Trash the Planet’
Oil and enamel on panel
Graham Gillmore
80 X 72 in
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‘Damp Wounds Sorely Mist’
Oil and enamel on panel
Graham Gillmore
90 X 72 in
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‘Don’t be so Naive’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
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‘Wash Away Yovr Tears’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
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The nature of my project has never been about boiling anything down, but rather exposing the complexities of human experience; particularly one’s self as subject and the world as object. The ‘self’ and the ‘other’ play a pivotal role as subject matter within my manipulations with language – locating, defining and ultimately obscuring any kind of singular ‘meaning’ behind or beneath the surfaces of the world. These games (self imploding sentences, misreadings , backfirings revisions, second thoughts etc.) offer access to the hope for authentic – if flawed – communication while confronting the indeterminacy of language, both literary and abstract. I use these self-conscious devices for a ‘defamiliarizing’ effect. Text allows the work to maintain a narrative thread while maintaining an allegiance to non-figurative imagery. I play the role of scavenger when it comes to the texts I use. I think of these selected fragments as a kind of linguistic ‘road kill’ – skeletons on which to hang the material of the painting. I am engaged with texts that evoke a certain prickliness or an emotional angle that is slightly askew, with an emphasis on themes rooted in an emotional or psychological realm rather than intellect. Sensation overides thought, just as fantasy takes the place of history. Statement

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Graham Gillmore : Monte Clark Gallery

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06
May
12

Sam Serafy : Artworks

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‘Untitled’
Sam Serafy
Artwork
2012
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‘Untitled’
Sam Serafy
Artwork
2011
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‘Untitled’
Sam Serafy
Artwork
2012
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‘Untitled’
Sam Serafy
Artwork
2011
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‘Untitled’
Sam Serafy
Artwork
2011
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‘Untitled’
Sam Serafy
Artwork
2011
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Sam Serafy : More Works

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29
Apr
12

Nazafarin Lotfi : Paintings

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‘Painting’
Oil and Acrylic on Canvas
65″ x 55″
2010
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‘Painting’
Spray Paint and Acrylic on Canvas
40″ x 40″
2010
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‘Painting’
Oil and Acrylic on Canvas
40″ x 40″
2010
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‘Painting’
Acrylic and Flashe Paint on Canvas
40″ x 40″
2010
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‘Painting’
acrylic and paper on canvas
30″ x 30″
2012
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‘Painting’
acrylic and paper on canvas
18″ x 18″
2012
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‘Painting’
spray paint, acrylic, fishing line
12″ x 12″
2012
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Nazafarin’s work performs as a stage for an event to happen where she searches for a particular moment, one that has passed or is to come. She empties out her thinking by refusing to let any one thought dominate in its visibility… almost everything is left out to compose a world exhausted of life. bio

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Nazafarin Lotfi : Website

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17
Apr
12

Robert Olsen : Paintings

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‘untitled’
gesso on canvas
11 x 19.5 in
2009
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‘untitled’
oil on panel
11 x 19.5 in
2010
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‘untitled’
gesso on canvas
11 x 19.5 in
2009
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‘untitled’
oil on panel
11 x 19.5 in
2010
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‘untitled’
gesso on canvas
11 x 19.5 in
2009
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‘untitled’
oil on panel
11 x 19.5 in
2010
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‘untitled’
gesso on canvas
11 x 19.5 in
2009
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Robert Olsen : Website

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16
Apr
12

El Lissitzky : ‘Prouns’ Series

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the station where one changes from painting to architecture.” ~ El Lissitzky

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‘Announcer’
El Lissitzky
1923
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‘Globetrotter in Time’
El Lissitzky
1923
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‘Neuer (New Man)’
El Lissitzky
1923
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‘Untitled’
El Lissitzky
1923
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‘Proun’
El Lissitzky
1923
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‘Tatlin at Work’
El Lissitzky
1921
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‘Proun G7’
El Lissitzky
1923
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‘Proun’
El Lissitzky
1923
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‘Proun’ was essentially El Lissitzky’s exploration of the visual language of suprematism with spatial elements, utilizing shifting axes and multiple perspectives; both uncommon ideas in suprematism. Suprematism at the time was conducted almost exclusively in flat, 2D forms and shapes, and El Lissitzky, with a taste for architecture and other 3D concepts, tried to expand suprematism beyond this. His Proun works spanned over a half a decade and evolved from straightforward paintings and lithographs into fully three-dimensional installations. They would also lay the foundation for his later experiments in architecture and exhibition design. While the paintings were artistic in their own right, their use as a staging ground for his early architectonic ideas was significant. In these works, the basic elements of architecture – volume, mass, color, space and rhythm – were subjected to a fresh formulation in relation to the new suprematist ideals. Through his Prouns, utopian models for a new world were developed. This approach, in which the artist creates art with socially defined purpose, could aptly be summarized with his edict “das zielbewußte Schaffen” – “task oriented creation.” ~ [Ext]

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El Lissitzky : More Works

El Lissitzky : Russian Constructivists

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