Hannah Wilkinson

Soccerates by Hannah Wilkinson, 2023 Women's World Cup Art, Limited Ed. Print

2023

Hannah Wilkinson is a New Zealand football player, musician, and visual artist. She had a notable collegiate career at the University of Tennessee in the United States and went on to play professionally in Sweden, Portugal, Germany, and Australia. Additionally, she represents the New Zealand Women's National Team, the Football Ferns, participated in three Olympic Games, and three FIFA Women’s World Cup. Art has always been a significant part of Wilkinson's life, even before she began her soccer journey. She explains: “Born and raised in Whangārei, New Zealand, I began drawing and creating before kicking a ball. My artistic pursuits offer a healthy balance off the pitch, allowing space to mentally offload pressures associated with being an elite athlete, while also enhancing the focus-flow state needed to perform both artistically and athletically.” Wilkinson's work spans various mediums, including drawing, digital illustrations, painting, and murals. Although sports is a dominant theme in her art, she frequently incorporates symbols related to philosophy, music, and New Zealand's cultural identity, landscapes, and wildlife. She is a proud member of the International Olympic Committee's Olympian Artists program and made significant contributions to the Olympic Agora exhibition held at Tokyo's Mitsokoshimae metro station before, during, and after the 2020 Games (held in 2021). Recently, she was also commissioned to create a mural at Auckland's Eden Park national stadium, celebrating the staging of the three women's World Cups (cricket, football, and rugby) in New Zealand in 2022 and 2023. This stadium will be the venue for the 2023 Women's World Cup, where Wilkinson will be competing. Hannah Wilkinson created two limited edition prints for the special occasion of the “In the Beginning, there was Football, " exhibition, coinciding with the 2023 Women's World Cup. Through powerful imagery and poetic language, Wilkinson explores the philosophy and emotion surrounding football in two limited edition prints. Her work reveals her deep emotional connection and proximity to the game. In Heart in the...

Lucía Rodríguez Pérez was born and raised in Santiago, Chile. She received her B.F.A. from the Universidad Católica de Chile in 2009, and her M.F.A. from the New York Academy of Art in 2016. Her work is encompassed primarily by paintings, but explores a range of media including works on paper, collage, sculpture, and videography. As described by her husband and artist collaborator, she is a “chromo-phile who prioritizes ambiguity.” Currently, her work explores the tension between abstraction and representation, and is informed by color as the first and last word. Rodríguez Pérez has shown internationally and widely in Colorado, including her debut solo exhibition in the United States at Alto Gallery in Denver (2022). Group exhibitions include Peep Space, Tarrytown, NY (2023); Sala Virtual CCU, Santiago, Chile (2022); Soft Times Gallery, San Francisco, CA (2022); RedLine, Denver, CO (2019); Light Grey Art Lab, Minneapolis, MN (2018); Flux Factory, New York, NY (2016); among others. She is the recipient of a merit scholarship at the New York Academy of Art, and has been awarded grants and residencies from the Robert Rauschenberg Foundation and Space 776 in New York. Her work has been featured by Project Gallery V, the Denver Art Museum, Mesa Gráfica, ArtAlLimite Newspaper, and more. In addition to Romi Studio...

“Colors appear connected predominantly in space. Therefore, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly...

“Colors appear connected predominantly in space. Therefore, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly and in many ways.” ― Josef Albers, Interaction of Color (1963) “I wanted to see if I could create tension and interest just by playing with color and composition—as to build a foundation on which my paintings could be constructed [. . .] I realized they were the first space in which I allowed myself to be free of representation, to explore color and composition not just as tools but as the medium through which my vision could come to life.” ― Lucía Rodríguez Pérez on the Grid series, 2023 In 2018, Lucía Rodríguez Pérez commenced her Grid series collages, which began as an exercise in exploring color without the constraints of paint. Her inspiration for this work came from two artistic influences: the medium of German artist and educator Joseph Albers...

“Colors appear connected predominantly in space. Therefore, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly...

“Colors appear connected predominantly in space. Therefore, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly and in many ways.” ― Josef Albers, Interaction of Color (1963) “I wanted to see if I could create tension and interest just by playing with color and composition—as to build a foundation on which my paintings could be constructed [. . .] I realized they were the first space in which I allowed myself to be free of representation, to explore color and composition not just as tools but as the medium through which my vision could come to life.” ― Lucía Rodríguez Pérez on the Grid series, 2023 In 2018, Lucía Rodríguez Pérez commenced her Grid series collages, which began as an exercise in exploring color without the constraints of paint. Her inspiration for this work came from two artistic influences: the medium of German artist and educator Joseph Albers...

Wallscape VI (Il Famoso) by Frank Schott from a series of photographic observances capturing urban textures and palimpsest color palettes in Italy 48 x 60 inches / 122cm x 152cm edi...

signed and editioned on reverse. edition of 5, 23 1/2"x31 1/2" This limited edition print by Ross Racine has an abstract quality in the composition. The golden yellow ground in thi...

signed and editioned on reverse. (edition of 5) 23 1/2"x31 1/2" This limited edition print by Ross Racine has an abstract quality in the composition. The parallel diagonal lines ap...

Limited edition Giclée prints on archival matte textured paper with archival ink. These reproductions of hand brushed paintings are scanned using high-resolution CRUSE scanning technology. Prints include a white border for easy framing options and are rolled and tube packed for safe shipping. Size indicated does not include border. Items are numbered and limited to a total of: 20 for 60x40" print on paper 30 for 30x20" print on paper 30 for 10x15" print on paper - after which reproductions (prints on paper) will no longer be available in their respective sizes. Matt Beasant...

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edition fine-art prints, made over a period of twenty years, we are offered the colours of India’s ancient land, the textures, light and the patterns that are everywhere. In the patterns of the arable fields to the jali's (carved screens) in the architecture. This work is however not romantic nor nostalgic but shows a deeper rooted need to offer a visual heritage of place, of where the artist is from and the journey that he is taking. The results are both compelling and honest. Mukesh Sharma, Celebration “O”, Lino-cut chin-coll’e on German Ivory paper Edition: 3 of 5, 2005 Image size: 50 x 33 cm / Sheet size: 79 x 55 cm Unframed "In this piece I use multiple layering of image, repetition of shape, layered shapes to inform my life celebration and my investigation into Indian culture" Mukesh Sharma's work: It is often in childhood that paths are set for what we will become. Mukesh Sharma hails from a rural, agricultural village in Rajasthan, India. His Father is a craftsman who fixed and mended farm machinery and understood the working parts in the processes. Sharma followed in his Father’s footsteps, as is often the case in Indian families, but his was not the machines of the fields but the presses of the printing studio. Like his Father, Mukesh Sharma is fascinated with understanding how things work and how he can manipulate the metal in his hands. It is not surprising then that his medium of choice is printing. One of the most physically challenging of all the practices, it can often be physically challenging as well as technical and detailed. In his youth, Sharma would draw with stones on walls and floors. He was lucky his family encouraged this and he is grateful for his early art-training at the Jaipur School of Art but it was at the Baroda Art Department that he was introduced to the great printing traditions of Jyoti Bhatt...

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edition fine-art prints, made over a period of twenty years, we are offered the colours of India’s ancient land, the textures, light and the patterns that are everywhere. In the patterns of the arable fields to the jali's (carved screens) in the architecture. This work is however not romantic nor nostalgic but shows a deeper rooted need to offer a visual heritage of place, of where the artist is from and the journey that he is taking. The results are both compelling and honest. Mukesh Sharma, Jetty 1, Lino-cut chin- coll’e on German Ivory paper Edition: 3 of 5, 2005 Image size: 50 x 33 cm / Sheet size: 79 x 55 cm Unframed ''What mesmerised me was the meeting of the sea and the mountain peak. Where the Jetty, a special curved wooden staircase leading to one end and the deep crystal clear sea at a distance. These scenes were amazing to me." Mukesh Sharma's work: It is often in childhood that paths are set for what we will become. Mukesh Sharma hails from a rural, agricultural village in Rajasthan, India. His Father is a craftsman who fixed and mended farm machinery and understood the working parts in the processes. Sharma followed in his Father’s footsteps, as is often the case in Indian families, but his was not the machines of the fields but the presses of the printing studio. Like his Father, Mukesh Sharma is fascinated with understanding how things work and how he can manipulate the metal in his hands. It is not surprising then that his medium of choice is printing. One of the most physically challenging of all the practices, it can often be physically challenging as well as technical and detailed. In his youth, Sharma would draw with stones on walls and floors. He was lucky his family encouraged this and he is grateful for his early art-training at the Jaipur School of Art but it was at the Baroda Art Department that he was introduced to the great printing traditions of Jyoti Bhatt...