Kim Jeong Yeon

"Relief", front the Series "Restful home"

2016

Kim Jeong Yeon - Contemporary Conceptual Korean painter and installation Artist, based in Seoul South Korea. Kim is recognized for her installations ...

Michael K. Paxton is a well-established, Chicago-based artist and sixth-generation West Virginian. He is currently the subject of a documentary film Work at Hand...

Mixed-media on wood

Hyun Ae Kang is a famous Korean Artist, born in Seoul, South Korea. Today she lives and works in California, USA. In her work Hyun combines traditional Korean spirit and Western ab...

«A WORK WILL ONLY HAVE DEEP RESONANCE, IF THE KIND OF LIGHT I’M TRYING TO GENERATE IS SOMETHING THAT IS ALREADY IN ME» - Hyun Ae Kang Hyun Ae Kang is an internationally renowned Ko...

«A WORK WILL ONLY HAVE DEEP RESONANCE, IF THE KIND OF LIGHT I’M TRYING TO GENERATE IS SOMETHING THAT IS ALREADY IN ME» - Hyun Ae Kang Bright and vivid, colorful and full of light, ...

Gloria Dudfield Leaning in Chair 1960's Gouache and Charcoal on Paper 11.75"x17.75" unframed. Gloria (Fischer) Dudfield July 12, 1922 – May 27, 2015 Came from a portfolio of her wor...

Pear Study by Diana Forbes [2021] original Acrylic, oil pastel, charcoal and collage on canvas board Image size: H:20.5 cm x W:20.5 cm Complete Size of...

Yesterday's Memory, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...

Contemplating Cultural Restoration, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...

Protesting his innocence, 2022. Mixed media: charcoal, pastel, acrylic paint on reclaimed paper Sheehama graduated from the University of Namibia with a Bachelor of Art (Fine Art) Honours degree in 2010 and has taught Visual Arts at the John Muafangejo...

Gathering Knowledge, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...