Michael Ricardo Andreev

Hereldic Symbols 1-10

2009

Leandros Pigades Conjugation of a Greek Word, 2015 graphite on paper 36 x 28 cm

floor, 2014, Graphite on paper 15.75 x 20.1 inches / 40 x 51 cm (framed) Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 ...

SWAN IN LOVE (TEOREMA 50), 2012  ink, watercolor, airbrush paint, graphite on paper  37.5 x 52 inches / 952 x 1320 mm unframed Christina McPhee’s expansive abstract paintings, drawings, photographs, and videos test or query how can we know, and who is we? Moving from within a matrix of measurement, observation and contingent effects, her work resists characterization as product, and continually accesses fields outside itself. For her, process equals trial. Her work emulates potential forms of life, in various systems and territories, from a perspective of the non-self– a world beyond identity. McPhee’s dynamic, performative, physical engagement with materials, in both her analogue and digital works, is a seduction into surface-skidding calligraphic gestures and mark-making. The tactics of living are in subterfuge, like the ‘dazzle ships...

Colt Type 10, 2016 Mixed media on hand-collaged paper 10 1/2 × 8 in 26.7 × 20.3 cm

Untitled Still Life, 2014 Graphite on paper 17.4 x 20.85 / 44 x 53 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he s...

Lamp, 2014 Graphite on paper 40 x 51 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he studied at the painting departm...

Highly detailed patterned abstract composition by Patricia "Patti" Omori Shepp (American, b. 1954). This piece has a repeating pattern across the width, reflected on itself. Texture ...

"My life as a painter began in the late 1950s when abstraction was “The only game in town”. I followed and progressed through gesture, organic and finally, geometric non-objective painting. The radical move for me was to discover that the real world of landscape lurked behind all that past work. My childhood in the mountains of Pennsylvania pervaded my “way of seeing” and I wanted to investigate and celebrate the infinite variety of tone, color and composition that I found around me. Sky, the structure of trees, mist and water appeared to fill a hunger to look again and again. There was mystery and danger lurking behind the beauty, and my aim was to try to avoid the cliché and explore the infinite structure of the visual landscape. Now I use my camera as a sketchbook and search for images that seem to offer odd structure and “mystery”. I shoot multiple points of view, cull, crop, and mostly discard. The surviving photographs become the catalyst for the paintings and the process is always a mediation between memory and the small image pinned to my easel...

"My life as a painter began in the late 1950s when abstraction was “The only game in town”. I followed and progressed through gesture, organic and finally, geometric non-objective painting. The radical move for me was to discover that the real world of landscape lurked behind all that past work. My childhood in the mountains of Pennsylvania pervaded my “way of seeing” and I wanted to investigate and celebrate the infinite variety of tone, color and composition that I found around me. Sky, the structure of trees, mist and water appeared to fill a hunger to look again and again. There was mystery and danger lurking behind the beauty, and my aim was to try to avoid the cliché and explore the infinite structure of the visual landscape. Now I use my camera as a sketchbook and search for images that seem to offer odd structure and “mystery”. I shoot multiple points of view, cull, crop, and mostly discard. The surviving photographs become the catalyst for the paintings and the process is always a mediation between memory and the small image pinned to my easel...

"My life as a painter began in the late 1950s when abstraction was “The only game in town”. I followed and progressed through gesture, organic and finally, geometric non-objective pa...

MY OUT-OF-REACH GARDEN is a new watercolor on Fabriano paper by Fleur Thesmar. The artwork measures 22x30", and is a structured composition in tones of blue, violet, rose, gold and green. Bordering on abstraction and representation, there appear to be sheets of paper, a desk, and yet surrounded by flowers, patterns and textiles it becomes a larger scene, a collection of memories. From Fleur Thesmar – "When you cannot return to a place you love, your memory invents the place for you. Apparent forms are suddenly unrecognizable, a reconstructed memory of a far-away place. Wrapped in patterns, grids and cloth, lights and stars shine as if from a mirror. Throughout are organic, fantastic shapes of flowers." Having moved her family from France to America, artist Fleur Thesmar closely observed the changes in her world – from the seemingly obvious such as surrounding landscapes, the light of day and weather, the flowers, trees and shorelines – to the smaller less obvious shifts, such as how one behaves in a new world, in a new home, how one cherishes certain belongings and certain memories. Her artistic practice is borne out of that close observation and shift in perspective, and has led to a number of successful gallery shows in the U.S. and internationally. Fleur Thesmar has shown at Beacon Gallery in Boston MA, 440 Gallery, Brooklyn NY, Old West Museum, Cheyenne WY, Belmont Art Gallery, Belmont MA, and Salon Ile-de-France 2020, Bourg-La-Reine, France. Her work is on permanent display at the Tower Hill Botanic...

Signed, titled & dated in pencil along the left edge of the paper. In excellent condition Provenance: McIntosh/Drysdale, Washington, D.C. 1988; Private Collection, Bethesda, Maryland; Private collection, San Diego, CA Exhibition History: The Corcoran Museum of Art, Washington, D.C. "Donald Sultan: In The Still Life Tradition" May 10-July 7...