Zhou Xiao

"Dragonfly #7" Chinese abstract ink on paper in neutral palette

Chinese still life in yellow, red, blue and black. The tradition of art is continuous: past creations are tradition for today, and today's creation will be future traditions. Trad...

I grew up in the United States and completed a BA in literature in Santa Barbara, CA, an MA in literature in Sydney, Australia, and a three-year printmaking diploma in London, where I currently live with my husband and two sons. I have also lived in Ecuador, where I taught modern literature and creative writing, and in France, where I contributed articles on art to Surface magazine. I am fascinated by the way patterns are repeated in both nature and urban landscapes and find inspiration in everything from maps, train tracks and aerial photographs to stones, moss, bark, lily pads and microscopic organisms. The time required to finish one of my monotypes varies, but often takes months. I usually start by rolling a color all over a smooth Plexiglas plate and then work reductively, creating the image by removing ink, sometimes by masking sections, but mainly with turpentine, using everything from spatulas, droppers and paintbrushes to muslin, tissue and cotton swabs. Now and then I take an additive approach and start on a clean plate or use a ghost image (a print made with the faint, left-over ink from a used...

I grew up in the United States and completed a BA in literature in Santa Barbara, CA, an MA in literature in Sydney, Australia, and a three-year printmaking diploma in London, where I currently live with my husband and two sons. I have also lived in Ecuador, where I taught modern literature and creative writing, and in France, where I contributed articles on art to Surface magazine. I am fascinated by the way patterns are repeated in both nature and urban landscapes and find inspiration in everything from maps, train tracks and aerial photographs to stones, moss, bark, lily pads and microscopic organisms. The time required to finish one of my monotypes varies, but often takes months. I usually start by rolling a color all over a smooth Plexiglas plate and then work reductively, creating the image by removing ink, sometimes by masking sections, but mainly with turpentine, using everything from spatulas, droppers and paintbrushes to muslin, tissue and cotton swabs...

"Untitled #7" Ink on Paper Still Life of Flowers in Vase in Chinese Tradition The Eisenhauer Gallery has experience shipping artwork around the world.

"Fall Day" Large-Scale Work on Paper of Courtyard and Trees Chinese Tradition A Chinese painter cannot avoid confronting and interpreting the Classics. Whether we invoke them by he...

Ink on Paper by Chinese artist The Eisenhauer Gallery has experience shipping artwork around the world.

Bridge (Abstract painting) Acrylic and Ink on Arches Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lines and or...

Circles And Lines (Abstract painting) Acrylic and Ink on Arches Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic l...

Porch (Abstract painting) Acrylic and Ink on Arches Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lines and org...

K1993 (Abstract work on paper) Ink, collage, cutting on paper - unframed Harald Kröner works thoroughly with paper, of which he is a notorious collector. Harald Kröner's work is ve...

Spheres (Abstract painting) Acrylic and Ink on Arches Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lines and o...

Trapeze (Abstract painting) Acrylic and Ink on Handmade Wasli Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lin...