Fabric Abstract Drawings and Watercolors

Andra Samelson’s work explores the relationship of microcosm and macrocosm, emptiness and form. The imagery in her paintings is often associated with molecular and galactic systems. ...

Interior design paintings. Abstraction art, made in pale pink, black, grey, white, rose color. Can be positioned in horizontal or vertical mode. Lena Cherny...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, emptiness and form. The imagery in her paintings is often associated with molecular and galactic systems. ...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, emptiness and form. The imagery in her paintings is often associated with molecular and galactic systems. ...

"Up north Series: Dreaming of Minocqua and Eagle River" is an original mixed media piece by David Barnett and his daughter Sarah. It is signed in the lower right. The piece includes ...

Abstract Landscape Seascape 19 Blue Yellow Purple Painting from British Artist Margaret Francis, widow of famous Abstract Expressionist Artist, Sam Francis. Margaret Francis received her Degree in Fine Art from Winchester Art...

Ink on paper mounted on canvas - Unframed. Martín Reyna is an Argentinian-born abstract painter living in Paris, France. His gestural abstract paintings delight the eye and activate...

"Ebb and Flow" by Sarah Alexander, is a flowing abstract watercolor on canvas in cool calm blues and turquoises measuring 30 x 24 x 1.5 inches from Alexander's "Off the Studio Floor"...

"The Blue Whale" is an original mixed media artwork on canvas by David Barnett. The artist used ink, aquacryl, and iridescent acrylic and signed/dated the piece lower right. It depic...

Graphic abstract painting on linen in contrasting shades of teal, sienna, and warm sunflower yellow "Keeper" by Jenny Kemp, painted in 2019 acrylic on linen over panel 14" X 11" unframed Jenny Kemp’s abstract paintings are inspired by the artist’s desire to represent unseen phenomenon. With intricate and calculated line-work, the artist builds parallel layers against opaque backgrounds, while shifts in color and shape call attention to organic forms that give reference to the human body or atomic structures. Waves of yellow contrasts against earth toned hues of sienna and teal while precise lines seem to vibrate the transitions of color. The abstract painting is part of a series of paintings on linen that can be hung together. About the artist: Jenny Kemp received a BS in Art from the University of Wisconsin - Madison and an MFA in Painting from the University at Albany. Her work has been exhibited in galleries and museums across the country, most recently at Gold/Scopophilia* in Montclair, NJ and the Mandeville Gallery at Union College in Schenectady, NY. She has been featured in publications such as 100 Painters of Tomorrow published by Thames & Hudson, New American Paintings, The Huffington Post, Seattle’s City Arts, New York Times, and The New England Review. Kemp is also a recipient of the 2015 NYFA fellowship in painting and the 2015 Emerging Artist Award recipient from the Art Center of the Capital Region in Troy, NY. She sits on the board of Collar Works, an art space dedicated to the support of emerging and under-represented artists exhibiting challenging and culturally relevant contemporary artworks in Troy, NY where she lives and works. EDUCATION MFA - Painting, University at Albany, SUNY 2012 BS - Art, University of Wisconsin, Madison 2002 EXHIBITIONS 2019 Gold / Scopophilia* Art on Paper, Pier 36, NYC Steady Curve Gold / Scopophilia*, Montclair, NJ (solo) 2018 Slow Grow Mandeville Gallery, Union College, Schenectady, NY (solo) FENCE + ECHO, Far x Wide, Brooklyn, NY (curated by Jes Cannon) Crazy Beautiful III, Kenise Barnes Gallery, Larchmont, NY Three Square, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) 2017 When We Were Young: Rethinking Abstraction from the University at Albany Art Collections (1967-present) University at Albany Art Museum, Albany, NY Surface 4, ARENA at Brooklyn Dermatology, Brooklyn, NY (curated by Renée Riccardo) The Whitney Houston Biennial: Greatest Love of All, Chashama, NYC (curated by Christine Finely) 2016 Reality is Wrong, Dreams are Real, David&Schweitzer Contemporary, Brooklyn, NY (curated by Phil and Sue Knoll) Squared, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Something Else, The Painting Center, New York, NY (curated by Dee Shapiro and Miriam Brumer) Living Color, Art Center of the Capital Region, Troy, NY (2 person) 2015 Howdy Doody, Collar Works, Troy, NY (curated by Leona Christie) Remains to be Seen, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Painting Parallels, GRIDSPACE, Brooklyn, NY (solo) Double Vision, Laffer Gallery, Schuylerville, NY (2 person) Mohawk Hudson Invitational Albany Center Gallery, Albany, NY Snowbirds Kenise Barnes Gallery, Larchmont, NY Valentine’s Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Variations in Paint (invitational), The Painting Center, New York, NY 2014 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Mohawk Hudson Regional, Albany Institute of History and Art (juror: Stephen Westfall) Tracery, PS209 Gallery, Stone Ridge, NY Connections Todd Art Gallery at Middle Tennessee State University, Murfreesboro, TN (2 person) Perceptions Opalka Gallery at Sage College, Albany, NY Modern Artists Carrie Haddad Gallery, Husdson, NY 2013 Second Nature Albany Airport Gallery, Albany, NY Admit One Collar Works Gallery, Troy, NY Works by Jenny Kemp and Richard Harrington Gallery 105, curated by MCLA Gallery 51, N. Adams, MA An Early Spring Carrie Haddad Gallery, Hudson, NY 2012 Recent work and new paintings on paper Fulton Street Gallery (solo) FISSURE GalleryEll online exhibition, curated by Amanda Kates In Orbit Little Gallery at Sage College of Albany. Albany, NY. Works on Paper Carrie Haddad Gallery, Hudson, NY MFA National Competition First Street Gallery, NYC. Juror: John Yau BioLogical Salem Art Works Carry House Gallery, Salem, NY MFA Thesis Exhibition University at Albany Art Museum, Albany, NY 2011 Back to School Fulton Street Gallery, Troy, NY Fence Select The Art Center of the Capital Region, Troy, NY. Juror: Carrie Haddad Honorable Mention Chain Letter Samson Projects, Boston, MA SUNY Best of Show New York State Museum, Albany, NY Members Only Collar Works Gallery, Troy, NY Fountain Art Fair Pier 66, New York, NY Nathan Meltz with Jenny Kemp and Doug Holst...

Untitled 04, 2017 Wax crayon on canvas (Signed on reverse) 78.74 H x 59.05 W in. 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on...

"Alphabet Colors" is an original mixed media drawing on canvas by Tom Shelton. The artist used crayon, colored pencil, and ink. The artist says: “Looking at cursive writing teachin...

Emma Lindström was born in 1989 in Gothenburg, Sweden. She has had great success internationally with her colourful, energetic work, and has exhibited i...

Untitled 05, 2017 Wax crayon on canvas (Signed on reverse) 78.74 H x 59.05 W in 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on ...

Jongwang Lee's paintings challenge a dormant potential he believes lives within all humans. Inspired by Buddhist philosophies of space, Korean ideas of communication with the soul, a...

Untitled 01, 2016 Wax crayon on canvas (Signed on reverse) 78.74 H x 59.05 W in 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on ...

Untitled 06, 2016 Wax crayon on canvas (Signed on reverse) 78.74 H x 59.05 W in. 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on...

The series continues Water Based Ink + cotton thread sewn on cotton on paper

Untitled 02, 2016 Wax crayon on canvas (Signed on reverse) 78.74 H x 59.05 W in 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on ...

Emma Lindström was born in 1989 in Gothenburg, Sweden. She has had great success internationally with her colourful, energetic work, and has exhibited i...

Untitled 03, 2016 Wax crayon on canvas (Signed on canvas) 78.74 H x 59.05 W in 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on w...

Jack Scott "Airveil" 3/1976 Charcoal on unprimed canvas sprayed with custom fixative 94.25"x60.25" unstretched Signed, titled and dated in pencil on reverse Excellent Condition - Mi...

Christopher "Flore" Florentino A Grand Gesture, 2024 Signed by the artist Acrylic on canvas, framed 70 x 80 inches This piece is unique Currently on display at Art Angels in Los Ang...

charcoal on paper Nicolas V. Sanchez received his BFA from Kendall College of Art and Design in Grand Rapids, MI and his MFA from the New York Academy of Art. While at the Academy, ...

Jack Scott "Black Arc, High Arc" 4/1976 Charcoal on unprimed canvas sprayed with custom fixative 90.25"x60" unstretched Signed, titled and dated in pencil on reverse This canvas is ...

Jack Scott "Slow Blur" 1976 Charcoal on unprimed canvas sprayed with custom fixative 89.25"x60.25" unstretched Signed, titled and dated in pencil on reverse This canvas is a testame...

Jack Scott "Light Black Blur #2" 1978 Charcoal on unprimed canvas sprayed with custom fixative 177.25x83.25" unstretched Signed on reverse Installation: This piece is intended to be stretched and stapled to the wall without a frame. Excellent Condition - Minor wear consistent with age and history. This canvas is a testament to the artist's meticulous craftsmanship and creative vision. The intricate charcoal cross-hatch arches create a captivating play of light and shadow, each mark bearing the artist's hand. To enhance and preserve this piece, the artist has applied multiple layers of their custom-made a fixative. This carefully curated process not only protects the delicate charcoal work but also adds depth and texture to the piece. The result is a mesmerizing work of art that begs viewers to explore its intricate details and reveals new dimensions with each look. About the work: Working on large unstretched canvases, Jack Scott draws charcoal arcs in a freehand style. Through placement and density the arcs create patterns of light and dark, vibrating with a luminescence unanticipated by the rawness of the materials. In previous works the arcs coalesced into amorphous forms—romantic sensations suggesting clouds, smoke or fog. With his recent works Scott introduces a concrete graphic form, large bisecting arcs that are giant magnifications of the minutely rendered arcs. Environmental romanticism yields to a bolder sensibility, as these shapes bear relationship to configurations favored by Minimalists and hard-edge abstractionists. However, Scott’s web of soft, undulating arcs subverts the large-scale coolness of the primary form. In this sense the artist’s works remind one of Rothko, whose monumental forms were also conceived through a diffused or soft-edge development. The method of building up freehand forms is remarkable considering the massive scale favored by the artist. From this standpoint his drawing seems imbued with a medieval intensity, displaying a feeling for concentration and handcraft that is often absent from contemporary art. —Hal Fischer

Jack Scott "Black Drawing (Introductions)" 5/1976 Charcoal on unprimed canvas sprayed with custom fixative 92.5"x59.5" unstretched Signed, titled and dated in pencil on reverse This...

Jack Scott "Clear Lobe" 1-77 Charcoal on unprimed canvas sprayed with custom fixative 83.25'x57" unstretched Signed, titled and dated in pencil on reverse This canvas is a testament...

Jack Scott "T-Blur" 3-27-77 Charcoal on unprimed canvas sprayed with custom fixative 69"x59.5" unstretched Installation: This piece is intended to be stretched and stapled without ...

Jack Scott "Black Rest" 3-27-77 Charcoal on unprimed canvas, sprayed with a custom fixative 76.5"x60" unstretched Signed, titled and dated in pencil on reverse Installation: This piece is intended to be stretched and stapled without a frame. Excellent Condition - Minor wear consistent with age and history. This canvas is a testament to the artist's meticulous craftsmanship and creative vision. The intricate charcoal cross-hatch arches create a captivating play of light and shadow, each mark bearing the artist's hand. To enhance and preserve this piece, the artist has applied multiple layers of their custom-made a fixative. This carefully curated process not only protects the delicate charcoal work but also adds depth and texture to the piece. The result is a mesmerizing work of art that begs viewers to explore its intricate details and reveals new dimensions with each look. JACK SCOTT (1953-) Education: MFA San Francisco Art Institute (1978) BA San Francisco State University (1976) College of Marin (1971-1974) Exhibitions Include: Los Angeles Institute of Contemporary Art (solo) Hansen Fuller Golden Gallery, San Francisco (solo) Kirk deGooyer Gallery, Los Angeles, (solo) "California Drawings", Modernism, San Francisco Awards and Distinctions Include: National Endowment for the Arts, Artist Fellowship Grant Marin Arts Council Individual Artists Grant Finalist, S.E.C.A. Award, San Francisco Museum of Modern Art Publications Include: Albright, Thomas. Art in the San Francisco Bay Area, 1945-1980 University of California Press, 1985 Articles and Reviews Include: Fischer, Hal, ARTFORUM Wilson, William, THE LOS ANGELES TIMES Rosenthal, Adrienne, ART WEEK Albright, Thomas, SAN FRANCISCO CHRONICLE Gardener, Colin, ARTWEEK Solnit, Rebecca. Arts, PACIFIC SUN Pincus, Robert, LOS ANGELES TIMES Frankenstein, Alfred, SAN FRANCISCO CHRONICLE Public Collections Include: Prudential, Inc., New Jersey Security Pacific Bank, Los Angeles Illinois Bell, Chicago Atlantic Richfield Corporation, Los Angeles Park Fifty-Five Hotel, San Francisco About the work: Working on large unstretched canvases and Strathmore paper, Jack Scott draws charcoal arcs in a freehand style. Through placement and density the arcs create patterns of light and dark, vibrating with a luminescence unanticipated by the rawness of the materials. In previous works the arcs coalesced into amorphous forms—romantic sensations suggesting clouds, smoke or fog. With his recent works Scott introduces a concrete graphic form, large bisecting arcs that are giant magnifications of the minutely rendered arcs. Environmental romanticism yields to a bolder sensibility, as these shapes bear relationship to configurations favored by Minimalists and hard-edge abstractionists. However, Scott’s web of soft, undulating arcs subverts the large-scale coolness of the primary form. In this sense the artist’s works remind one of Rothko, whose monumental forms were also conceived through a diffused or soft-edge development. The method of building up freehand forms is remarkable considering the massive scale favored by the artist. From this standpoint his drawing seems imbued with a medieval intensity, displaying a feeling for concentration and handcraft that is often absent from contemporary art. —Hal Fischer

Reginato's work is organic and biomorphic, using color to add a painterly effect.

"A Home for All with Yellow Roof" is a framed acrylic painting on canvas by Aron Hill, depicting abstract shapes in yellow, red, and blue on raw canvas. The carefully composed forms ...

"Summer Sway 3" is an unframed mixed media work on canvas by Liz Barber, with abstract shapes and gestural paint drips. The vibrant colors and expressive mark-making stand...

Abstract work of art. Acrylic on canvas.

1,000 piece Museum Quality Collection of Art & Objects from NYC 1939 Worlds Fair. Ilya Bolotowsky (1907-1981) "1939 World’s Fair Mural Study for the Hall of Medical Sciences...

pastel on fabric (bathrobes) on wood panel with upholstery tacks

Ink on gessoed canvas 15 1/8 x 15 1/4 canvas (38.4 x 38.7 cm)