Jackie Battenfield

Briefly Shaded, Dark Indigo Blue Oak Leaf Botanical Tree Painting White Mylar

2019

In this embroidery painting, a poinsettia pattern in red, yellow, purple and green is carefully painted in colorful dots in acrylic and gouache on Duralar mounted on panel. Signed and dated on verso. Kirstin Lamb’s gridded, meticulously detailed paintings on transparent acetate are labor-intensive paintings of labor-intensive textiles and patterns. To create these embroidery paintings, Lamb starts by generating a digitized grid and painstakingly painting each individual gridded stitch by hand using acrylic and gouache on a wet media acetate. The process creates a one-to-one relationship of mark to stitch, the act of each brushstroke serving for the stitch of a needle. Lamb’s embroidery paintings draw patterns from French floral wallpaper of the 17th, 18th, and 19th centuries, while others draw inspiration from vintage embroidery patterns...

In this painted embroidery, an ornate french tapestry in brick red, gold and ivory with royal blue details on is carefully painted in colorful dots in acrylic and gouache on Duralar mounted on panel. Signed and dated on verso. Kirstin Lamb’s gridded, meticulously detailed paintings on transparent acetate are labor-intensive paintings of labor-intensive textiles and patterns. To create these embroidery paintings, Lamb starts by generating a digitized grid and painstakingly painting each individual gridded stitch by hand using acrylic and gouache on a wet media acetate. The process creates a one-to-one relationship of mark to stitch, the act of each brushstroke serving for the stitch of a needle. Lamb’s embroidery paintings draw patterns from French floral wallpaper of the 17th, 18th, and 19th centuries, while others draw inspiration from vintage embroidery patterns...

In this pointillist landscape, a forest scene with trees in woods is carefully painted in colorful dots in acrylic and gouache on Duralar mounted on panel. Signed and dated on verso. Kirstin Lamb’s gridded, meticulously detailed paintings on transparent acetate are labor-intensive paintings of labor-intensive textiles and patterns. To create these embroidery paintings, Lamb starts by generating a digitized grid and painstakingly painting each individual gridded stitch by hand using acrylic and gouache on a wet media acetate. The process creates a one-to-one relationship of mark to stitch, the act of each brushstroke serving for the stitch of a needle. Lamb’s embroidery paintings draw patterns from French floral wallpaper of the 17th, 18th, and 19th centuries, while others draw inspiration from vintage embroidery...

In this painted wallpaper pattern, an ornate botanical pattern with roses against a powder blue background is carefully painted in colorful dots in acrylic and gouache on Duralar mounted on panel. Signed and dated on verso. Kirstin Lamb’s gridded, meticulously detailed paintings on transparent acetate are labor-intensive paintings of labor-intensive textiles and patterns. To create these embroidery paintings, Lamb starts by generating a digitized grid and painstakingly painting each individual gridded stitch by hand using acrylic and gouache on a wet media acetate. The process creates a one-to-one relationship of mark to stitch, the act of each brushstroke serving for the stitch of a needle. Lamb’s embroidery paintings draw patterns from French floral wallpaper of the 17th, 18th, and 19th centuries, while others draw inspiration from vintage embroidery patterns...

In this pointillist interior scene, an artist's studio is carefully painted in colorful dots in acrylic and gouache on Duralar mounted on panel. Signed and dated on verso. Kirstin Lamb’s gridded, meticulously detailed paintings on transparent acetate are labor-intensive paintings of labor-intensive textiles and patterns. To create these embroidery paintings, Lamb starts by generating a digitized grid and painstakingly painting each individual gridded stitch by hand using acrylic and gouache on a wet media acetate. The process creates a one-to-one relationship of mark to stitch, the act of each brushstroke serving for the stitch of a needle. Lamb’s embroidery paintings draw patterns from French floral wallpaper of the 17th, 18th, and 19th centuries, while others draw inspiration from vintage embroidery patterns...

Layers of foliage in bright shades of reddish orange grace delicate dark brown branches on the pristine white background of this large vertical painting in acrylic on Mylar mounted o...

Anonymous Self Portrait Collage 4 2019 Signed and dated on label, verso Ink, graphite, acrylic, and Mylar on 300 lb. hot-pressed watercolor paper mo...

Reverse Mylar Painting, 'Blue Composition (2),' 2017 by Catherine Howe. Oil and acrylic mediums on polyester sheeting, 40 x 30 in. / White Frame: 46 x 40.25 in. Howe's reverse-paint...

Mary Schiliro's work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring new possibilities of presentation. She uses a dipping process w...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by wide-ranging research into cosmology, history, philosophy, and by connecting common threads that flow across various scientific fields to capture and re-imagine what the scientists see. Kamen has exhibited and lectured both nationally and internationally. As catalysts for her artwork, she has investigated scientific rare books and manuscripts at the libraries of the American Philosophical Society, the Science History Museum, and the Cajal Institute in Madrid. She has also worked on collaborative projects at the Center for Astrophysics at Harvard University, the Kavli Institute at Massachusetts Institute of Technology, and Rochester Institute of Technology. While artist in residence in the neuroscience program at National Institutes of Health, Kamen interpreted and transformed neuroscience research into sculptural form. Her work has recently been exhibited in the Creative Resilience: Art by Women...