Giorgio Lo Fermo

Geometrical Abstract Composition - Mixed Media on Paper by G. Lo Fermo - 2020

2020

Geometrical Abstract Composition is an original contemporary artwork realized by the Italian artist Giorgio Lo Fermo (Messina, 1947) in 2020. Mixed Media on Paper. Hand-signed on t...

Geometrical Abstract Composition is an original contemporary artwork realized by the Italian artist Giorgio Lo Fermo (Messina, 1947) in 2020. Mixed Media on Paper. Hand-signed on t...

Geometrical Abstract Composition is an original contemporary artwork realized by the Italian artist Giorgio Lo Fermo (Messina, 1947) in 2020. Mixed Media on Paper. Hand-signed on ...

Geometrical Abstract Composition is an original contemporary artwork realized by the Italian artist Giorgio Lo Fermo (Messina, 1947) in 2020. Mixed Media on Paper. Hand-signed on t...

Geometrical Abstract Composition is an original contemporary artwork realized by the Italian artist Giorgio Lo Fermo (Messina, 1947) in 2020. Mixed Media on Paper. Hand-signed on t...

Paramount is a contemporary artwork realized by Enrico Manera in 2008. Mixed media on paper. Hand signed and dated on the lower margin Authentication certificate by the Artist on ...

Robert’s work incorporates small poetic texts, often in a childlike manner. She did not utilize conventual tools, such as a paintbrush, but moved the paint with her hands. Though right-handed, she preferred to use her left hand to tap into a fragile creative energy akin to the mark-making of an untrained child’s first gestures. Her work, therefore, has a sense of discovery that is both assertive and tentative. Her poetic texts are evocative and sometimes nonsensical, functioning more compositionally than literally. Her works on paper are often composed of variegated scribbles, and her paintings are rich painterly statements that move between abstraction and fantastical landscapes. Louise Robert’s first professional exhibition was held in Montreal...

Angel Descending the Staircase, 2019 by a.muse is a 15” x 11” x 3/16” acrylic and pastel stick collage on canvas mounted on board. The painting is signed (on front and back), titled,...

Original mixed media on paper. Hand signed, dated and titled on verso by the artist. Referenced on page 53 in the Waddington and Tooth "Ben Nicholson paintings on paper" book. Artwor...

SURFACE CP/869 Steel 1951 Tempera, pencil on twelve paper tiles, on sheet Tempera, pencil on twelve layers of paper, on sheet cm 31 x 24 (sheet) 15 x 20 (panel) EXHIBITONS F.R. Mor...

The discipline of creating a drawing each day is a process, like a written diary, to clear the mind, to declutter thoughts, and to observe patterns. It is a method that allows the mind a freedom to wander and drift. A visual journal becomes a safe space for personal reflection–a self-awareness fueled by the opportunity for contemplation and immersion. The painted surface for the drawings was created by dividing five large paintings into 40 separate pieces. I chose five paintings from my Perspective Series (1993-94), which relied on day-to-day imagery that narrated a story about shifting time and how time anchors our day. The brush strokes of Perspectives are fluid, with muted colors – moving from deep blacks to taupe whites. Dividing these pieces was a means for me to rethink ideas and recurring images in my older work. The very thin gold leaf applied to each piece has a wonderful amber tone. This gold leaf is from Myanmar, where it is used as decoration for Buddha or for the dome of a temple or monastery. In the drawings, the gold element relates to the sense of infinity – like the sky in an enclosed courtyard. An architectural element is a critical component in my studio work that I wanted to carry over into these pieces. I envisioned a courtyard–a safe space that opens up to the sky. Unfolding circles define the beginnings of an open interior space. The process felt open-ended. It was an opportunity to get lost in thought and to give me an opportunity to reflect, muse and declutter my thinking. Then repeat. 40 days...

Robert’s work incorporates small poetic texts, often in a childlike manner. She did not utilize conventual tools, such as a paintbrush, but moved the paint with her hands. Though right-handed, she preferred to use her left hand to tap into a fragile creative energy akin to the mark-making of an untrained child’s first gestures. Her work, therefore, has a sense of discovery that is both assertive and tentative. Her poetic texts are evocative and sometimes nonsensical, functioning more compositionally than literally. Her works on paper are often composed of variegated scribbles, and her paintings are rich painterly statements that move between abstraction and fantastical landscapes. Louise Robert’s first professional exhibition was held in Montreal...