Patricia Dahlman Art

Kelly Kozma has drawn, painted, and hand-stitched this abstract work that has the feel of a map, while also seeming to nod towards the digital world. The finished framed dimensions ...

Things We See Towards the End, 2020, acrylic, oil, graphite, pastel, thread, nails and yarn on canvas. Spider web. Blue, yellow, red, black, white, pink abstract. Custom framed in a...

DOUBLE SIDED works and have been created to intentionally depict 2 images, one on each side of the paper. They are created using 100% cotton 300g watercolour paper, watercolour, penc...

This drawing, painting, and fibers work titled "Party Ball" is an original mixed media artwork by Kelly Kozma made of hand-embroidery, color pencil, and acrylic paint on paper. The a...

Miriam Schapiro Cabinet, 1999 Fabric, Rickrack, photography, magazine images, greeting cards, lithography, collage, text Hand Signed and dated by the artist on the lower right front Frame included: Hand made dark wood frame with UV plexiglass included Measurements: Frame: 34 x 27.5 x 1.5 inches Artwork: 30 x 23.5 inches Unique work. Miriam Schapiro, burst onto the international art scene as the only woman featured, along with her male colleagues Frank Stella, Morris Louis, Kenneth Noland, Barnet Newman, Ray Parker and others in the groundbreaking 1964 Jewish Museum exhibition "Towards a New Abstraction" curated by Alan Solomon. Schapiro is the founder of the Pattern & Decoration Movement, and is being re-discovered by a new generation of collectors. Her 2018 retrospective at the Museum of Art and design, followed by other international museum and gallery exhibitions received major critical acclaim. Today her works continue to smash records at auction and retail sales are robust. She is represented by the prestigious Eric Firestone Gallery in New York. The present work - Cabinet - is a quintessential example of the style of "Femmage" that Schapiro, along with artist Melissa Meyer, pioneered. Femmage, or feminist...

Half Web in Pink, 2020, acrylic, oil, graphite, pastel, thread, nails and yarn on canvas. Pink, green, blue, abstract. Custom framed in a white wooden float frame. Gorgeous medium to large scale abstract painting with beautiful composition and palette of lilac pink, lilac purple, light peach, pale yellow, light pink, bright pink, fuchsia, mauve, light violet, periwinkle, sky blue, aqua, pale blue...

Half Web in Yellow, 2020, acrylic, oil, graphite, pastel, thread, nails and yarn on canvas. Yellow, green, blue, spider, abstract. Custom framed in a white wooden float frame. Gorgeous composition and palette, including charcoal gray, black, white, sky blue, turquoise blue, navy blue, sage green, lime green, forest green, pale yellow, marigold yellow, orange, peach, pale pink, coral pink, lavender, lilac purple and burgundy. The woven yarn over the painting is exquisite, giving the painting the most luxurious three dimensional quality. This is such a unique piece by Macauley Norman...

Yin Yang, 2020, acrylic, oil, graphite, pastel, thread and yarn on canvas. Yellow, black, white, pink abstract. Custom framed in a white floating frame.

"Sisters #4", 2019 by Valerie Hammond 72 x 35 inches unframed Pigment, Color Pencil, Wax, Glass Beads, and thread on Japanese Rice Paper Coated with Beeswax Vertical, indigo panels ...

The Sorcerer, 2020, acrylic, oil, graphite, pastel, thread and yarn on canvas. Green, blue, pink, abstract. Custom framed in a white floating frame.

"Sisters #2", 2019 by Valerie Hammond 73 x 34.5 inches unframed Pigment, Color Pencil, Wax, Glass Beads, and thread on Japanese Rice Paper Coated with Beeswax Vertical, indigo panels that are unframed, can be installed with magnets, but framing is recommended. In Valerie Hammond’s series of wax drawings, protection is two-fold: the artist (previously) encases dried flowers and ferns in a thin layer of wax, preserving their fragile tissues long after they’ve been plucked from the ground. In outlining a pair of hands, she also secures a memory, or rather, “the essence of a gesture and the fleeting moment in which it was made.” Centered on limbs lying flat on Japanese paper, the ongoing series dates back to the 1990s, when Hammond made the first tracing “partly in response to the death of a dear friend, whose beautiful hands I often found myself remembering.” She continued by working with family and friends, mainly women and children, to delineate their wrists, palms, and fingers. Today, the series features dozens of works that are comprised of either hands tethered to the dried botanics, which sprout outward in wispy tendrils, or others over layed with thread and glass beads. Although the delicate pieces began as a simple trace, Hammond shares that she soon began to overlay the original drawing with pressed florals, creating encaustic assemblages that “echoed the body’s bones, veins, and circulatory systems.” She continued to experiment with the series by introducing various techniques, including printmaking, Xerox transfers, and finally Photoshop inversions, that distorted the original rendering...

DOUBLE SIDED works and have been created to intentionally depict 2 images, one on each side of the paper. They are created using 100% cotton 300g watercolour paper, watercolour, penc...