Harald Kroner

Yappanoise 12

2014

Ink, enamel on paper - Unframed This work is part of one of 4 on-going series of large works on paper. The name of this series, "Cut", relates to the technique used by the artist, ...

Yappanoise 47 (Abstract work on paper) Ink, enamel on paper - Unframed This work is part of one of 4 on-going series of large works on paper. T...

Yappanoise 47 (Abstract work on paper) Ink, enamel on paper - Unframed This work is part of one of 4 on-going series of large works on paper. T...

Cut 42 (Abstract work on paper) Ink, enamel on paper - Unframed This work is part of one of 4 on-going series of large works on paper. The name of this series, "Cut", relates to t...

Cut 42 (Abstract work on paper) Ink, enamel on paper - Unframed This work is part of one of 4 on-going series of large works on paper. The name of this series, "Cut", relates to t...

Ink, enamel, collage on paper - Unframed. This work is part of one of 4 on-going series of large works on paper. The name of this series, "Yappa...

Ellen Hackl Fagan is an interdisciplinary abstract painter who uses synaesthesia, digital media and interactive performance as tools for developing a corresponding language between c...

Sara Eichner wants to create a space where point of view can not be fixed. Optical games stand in for the struggle to comprehend the complexities of seeing. Using simple drawing tools and paper, she engages a systematic process that branches into new forms as they meet if / else junctures in the work. The series grow iteratively, engaging perception as a subject and a means. To begin, she creates a grid of converging lines in perspective to establish a basic unit of pictorial space. That bound unit: lines and perspective; becomes the foundation for building complexity. Variables such as repetition, color, incremental rotation, inversion, concentration and dispersion are applied. Properties of the initial unit are subverted and transformed. Play between solidity and transparency, mass and lightness, concentration and diffusion, slows down perception. A build up of marks aggregates into optical mixtures and resolves into patterns created by processes of rotation and layering. These patterns and binary relationships emerge slowly. The networks of lines converge and disperse creating multiple visual paths through fields of structured accumulation. Her very human hand leaves behind texture that animates the final artifacts of this process. Sara Eichner is a graduate of Kenyon College (BA) and Syracuse University (MFA). She has had solo exhibitions at PPOW and Sears Peyton...

Being nearsighted from a young age, Audrey Stone is drawn to seeing things up close; her work entails detail in the making and her desire for visual intimacy. How craft and art are d...

Being nearsighted from a young age, Audrey Stone is drawn to seeing things up close; her work entails detail in the making and her desire for visual intimacy. How craft and art are d...

Sara Eichner wants to create a space where point of view can not be fixed. Optical games stand in for the struggle to comprehend the complexities of seeing. Using simple drawing tools and paper, she engages a systematic process that branches into new forms as they meet if / else junctures in the work. The series grow iteratively, engaging perception as a subject and a means. To begin, she creates a grid of converging lines in perspective to establish a basic unit of pictorial space. That bound unit: lines and perspective; becomes the foundation for building complexity. Variables such as repetition, color, incremental rotation, inversion, concentration and dispersion are applied. Properties of the initial unit are subverted and transformed. Play between solidity and transparency, mass and lightness, concentration and diffusion, slows down perception. A build up of marks aggregates into optical mixtures and resolves into patterns created by processes of rotation and layering. These patterns and binary relationships emerge slowly. The networks of lines converge and disperse creating multiple visual paths through fields of structured accumulation. Her very human hand leaves behind texture that animates the final artifacts of this process. Sara Eichner is a graduate of Kenyon College (BA) and Syracuse University (MFA). She has had solo exhibitions at PPOW and Sears Peyton...

Jacob El Hanani Vertical=Horizontal 2007-17 Ink on paper 18 1/8 x 24 inches (46 x 61 cm)