Patti Parsons

Pale Plant (Blue)

PATTI PARSONS True Blue (Grass) • ink stick, china marker, acrylic paint on wood panel 30.00w x 30.00h x 2.00d in $4,500.00 From the perspective of a writer ...

PATTI PARSONS Briefly Scattered Blue (Grass) • ink stick, china marker, acrylic paint on wood panel 30.00w x 30.00h x 2.00d in $4,500.00From the perspect...

PATTI PARSONS Rebel Leaf • ink stick, china marker, acrylic paint on wood panel 48.00w x 60.00h x 2.00d in $14,400.00 From the perspective of a writer an...

PATTI PARSONS Flower Fade • ink stick, china marker, acrylic paint on wood panel 36.00w x 48.00h x 2.00d in $8,700.00 From the perspective of a writer an...

PATTI PARSONS Stem Study • ink stick, china marker, acrylic paint on wood panel 36.00w x 48.00h x 2.00d in $8,700.00 From the perspective of a writer and...

PATTI PARSONS Vine Hint • ink stick, china marker, acrylic paint on wood panel 16.00w x 20.00h x 1.00d in $1,600.00 From the perspective of a writer and ...

Large contemporary modern landscape painting in rich browns and blues, Titled 'Journey’s End’ 
This original abstract contemporary landscape painting is based on my nature walks in beautiful Santa Barbara California. The colors are natural blues, browns, and ochres. It is framed in a dark espresso wood floater frame, wired on the back and ready to hang. 
This painting is signed on the front and back and is coated with an archival UV semi-gloss varnish for protection and light luster...

Pyre VII 2017 India ink and acrylic paint on charred birch plywood 32" x 24" x 1.25" Pyre VII is part of a series of charred panels Watson completed in 2017 at the Arts, Letters and Numbers Residency in Averill Park, NY. The pieces incorporate local materials, rice, and fire to create charred photographic images on plywood that explore themes related to being, substance and imperceptibility. The imagery references the practice of cremation on a funerary pyre in which the corpse is prepared and burned over a construction of combustible materials. Within the work, rather than destroying the body, the fire produces an afterimage that remains indefinitely. Each day Watson would scavenge the site collecting natural objects, such as sticks, small rocks, and other detritus. He laid these objects on the surface of the plywood with raw rice. The surface was then charred using a propane torch. After the objects and rice were removed an image of them remained, like a photogram. In some panels, He incorporated a homemade black rice ink or various paints to tint the surface before and after burning. Rice is a recurring theme in Watson’s work. It alludes to an uncontained body in the process of decay, returning to the earth to become a source of sustenance for new life. It also imagines the soul extending beyond its fleshly container. The act of burning attempts to capture the space between life, death, and rebirth— freezing it in a state of transformation. The sticks, stones, and rice become remnants of life and markers of space and time. They are more than mere grains and detritus. They become the body as a trace of what was and a reflection of what will be. Michael Watson...

Katrina Revenaugh Nightcap Archival Pigment Ink, Acrylic, Oil Pastel and Spray Paint on Birch Panel Year: 2021 Size: 24×12in Signed: On Verso COA provided Ref.: 924802-1956 *on Birc...

Katrina Revenaugh Day Dream No. 4 Archival Pigment Ink, Acrylic and Spray Paint on Birch Panel Year: 2020 Size: 12×12in Signed: On Verso COA provided Ref.: 924802-1936 *on Birch Pa...

Stunning modern minimalism meets abstract expressionism with green, white and black in this unique mixed media work, that was created as a Master plate for collagraph printmaking by Patricia A. Pearce (American, b. 1948). The simple geometric form of a white kimono...

This black and white abstract piece on mylar is a study in shapes and contrast. The image floats within the black frame. The mylar is slightly slanted on the edges to add to the shapes contained within the image. Lisa Lightman...