Magdalena Paz

Maybe we imagined it all, minimalistic, abstract soccer acrylic painting, 2022

2022

Magdalena Paz was invited to be a guest exhibitor at Stephanus Kirche in Berlin, Germany. Her artist statement on her "Madonna in the 21st century" seri...

Artist Statement on “Houseplants” series: The following project began towards the end of 2017. The transition from my previous work (abstract expressionist paintings that explored processes related to my athletic practice) may seem spontaneous, but it was something that happened quite naturally for me after an ankle injury I suffered in June of that year. From a very active daily routine I was forced quite abruptly into a sedentary one. While being inactive was a circumstance that made me feel very uncomfortable and uneasy not only physically, but also emotionally, it was one that is so common - and comfortable - for the ever expanding digital society. Without realizing that I was beginning a new body of work I was drawn by a deep urge to painting humans as some sort of inanimate object. A houseplant I thought, a wild organism domesticated. I had a few ideas for the figures in mind and knew the composition would be set in an environment that can neither be recognized as indoor or outdoor, but without clear ideas of the final pieces. Having only rough pencil sketches to start from allowed the work to have elements of spontaneity and life, but also required perseverance to see them through to an unknown end. I experiment directly on the canvas with form and color until the subjects feel right (not necessarily anatomically, but rather aesthetically). Thereon changes continue until, upon stepping away from the work, the sum of its elements evoke a sense of harmony; sometimes on purpose, sometimes by mistake. This is in many ways a continuation of the processes I practiced in my previous work, only applied to a new subject. By embracing mistakes, and responding to aesthetic decisions on the canvas directly the painting begins to form harmony through trial and error, building simultaneously texture and depth, and maintaining an expressive quality. About the artist: Magdalena Paz...

Artist Statement on “Empty Landscapes” series: In the life of the artist, sport fields and arenas have been a refuge and a home. Empty Landscapes is a project that started during the pandemic which explores the football field as a place de-peopled. Among other things we never imagined happening in our lifetime, this space built into our landscapes to be occupied became for nearly a year and a half a space inaccessible- even prohibited. By placing the field vertically, deconstructing it, or rearranging the boundaries and shapes that lay down the foundations of the game the artist creates a familiar, but obsolete representation of a space treasured by so many. About the artist: About the artist: Magdalena Paz...

The title of the work in English: "Careful! Ideas are thieves of dreams" Artist Statement on “Houseplants” series: The following project began towards the end of 2017. The transition from my previous work (abstract expressionist paintings that explored processes related to my athletic practice) may seem spontaneous, but it was something that happened quite naturally for me after an ankle injury I suffered in June of that year. From a very active daily routine I was forced quite abruptly into a sedentary one. While being inactive was a circumstance that made me feel very uncomfortable and uneasy not only physically, but also emotionally, it was one that is so common - and comfortable - for the ever expanding digital society. Without realizing that I was beginning a new body of work I was drawn by a deep urge to painting humans as some sort of inanimate object. A houseplant I thought, a wild organism domesticated. I had a few ideas for the figures in mind and knew the composition would be set in an environment that can neither be recognized as indoor or outdoor, but without clear ideas of the final pieces. Having only rough pencil sketches to start from allowed the work to have elements of spontaneity and life, but also required perseverance to see them through to an unknown end. I experiment directly on the canvas with form and color until the subjects feel right (not necessarily anatomically, but rather aesthetically). Thereon changes continue until, upon stepping away from the work, the sum of its elements evoke a sense of harmony; sometimes on purpose, sometimes by mistake. This is in many ways a continuation of the processes I practiced in my previous work, only applied to a new subject. By embracing mistakes, and responding to aesthetic decisions on the canvas directly the painting begins to form harmony through trial and error, building simultaneously texture and depth, and maintaining an expressive quality. About the artist: Magdalena Paz...

In her “Balcony” series paintings, Lucía Rodríguez Pérez uses an same architectural mindset by constructing images of pillars and the surrounding sky by skillfully manipulating color to create the illusion of natural light. While architects and artists cannot manipulate natural light, she masterfully blends colors in her palette to create a complex yet subtle gradient that evokes the feeling of a sunset or sunrise. Each “Balcony” painting...

In her “Balcony” series paintings, Lucía Rodríguez Pérez uses an same architectural mindset by constructing images of pillars and the surrounding sky by skillfully manipulating color to create the illusion of natural light. While architects and artists cannot manipulate natural light, she masterfully blends colors in her palette to create a complex yet subtle gradient that evokes the feeling of a sunset or sunrise. Each “Balcony” painting...

Acrylic on canvas. Signed, titled, and dated on verso. 86 x 74 in. 87.25 x 75.25 in. (framed) Please note: Our framing studio could not accommodate the scale of this work, so it is being sold as-acquired. The canvas is housed in an original “studio strip” frame installed by the artist. Please see condition notes below for additional details and an assessment of condition. Provenance Steve Chase Design, Palm Springs, CA Ronnie Landfield was born in the Bronx, NY on January 9, 1947 - the same day as his older brother. As a teenager, he was encouraged to pursue a career as an artist, subsequently creating his first real paintings around the age of 14. He was particularly influenced by a Life magazine article from 1961 on the Abstract Expressionists, most notably: Jackson Pollock, Willem de Kooning, Adolph Gottlieb, Hans Hofmann, Mark Rothko, Clyfford Still, Robert Motherwell and Franz Kline. After stints at the Art Students League, the Kansas City Art Institute, the San Francisco Art Institute, and the University of California at Berkeley, Landfield’s professional career as a painter began in New York in 1965. The following year, after completing a major series of hard-edge border paintings, success as a painter began to materialize. The famous architect and collector Philip Johnson and the collector Robert Scull each acquired large paintings works, as did the Sheldon Memorial Museum in Lincoln, Nebraska. In 1967, Landfield was invited to participate in the Whitney Annual at the end of the year. His work attracted considerable attention, and he was invited to participate in important group exhibitions at the Bykert, Bianchini, and Park Place Galleries in New York. Landfield joined the David Whitney...

Represented by George Billis Gallery. When a simple vertical line finds itself in the midst of accidental organic chaos, a sense of directionality and stability is introduced. The l...

"Abstract Calligraphy" Mixed Media Painting 98" x 79" inch by Ibrahim Khatab Ibrahim Khatab was born in Cairo 1984, works as a co-teacher in Cairo Uni...

Isabel Turbán Fuerza Diptych, Dubai Map, 2015 Mixed media on canvas 60 x 96 in (152.4h x 243.84w cm)

Artist: Thornton Willis, American (1936 - ) Title: Working Man Year: 1981 Medium: Acrylic on Canvas, signed and titled verso Size: 84 x 94 in. (213.36 ...

Andy Moses, Geodesy 706, 2019, acrylic on canvas, 36” circle, $12,500