Stephen Basso

Bouquet Bearer bright colors blue dress yellow wall pastel women fashion flowers

2021

*ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagina...

Mixed media on red toned archival paper signed and dated bottom left. Part of the artist series of egg walkers/ dancers. Playful twist on psychological theme ABOUT Stephen Basso St...

Soft pastel on red toned paper signed and dated on bottom left. Part of a series of music themes by the artist Reminiscent of Botero and Diego Rivera ABOUT Stephen Basso Stephe...

Soft pastel on toned archival paper signed on bottom left. It is mounted on an acid free foam board suitable for framing under glass. The dimensions with board are 32x 40 inABOUT Ste...

France circa 1820 Portrait of a gentleman Black chalk and pastel on paper 12 x 10 cm In its original mount, modern oak frame : 25 x 22.5 cm

Romantic French pastel portrait of a Spanish beauty by Louis Fortuney. The work is signed bottom right, titled to the back board and presented in a fine...

Fine drawing in pencil, oval format. Circle of Angelika Kauffmann. The subject is not clear. It is Amor with his arrows and perhaps Venus with a sp...

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova, a dark and desolate world parallel to our own. Robbie Cornelissen’s drawings, such as The Space of Absence and Thriller, seem to pull from the stop motion’s frames. Other images, made especially for The Undertow isolate key fragments; the cloud, mounds and timeless dwellings, Cornelissen’s signature technical interest. In addition to his methodical approach, Cornelissen uses the written word, scrawling and erasing terms repeatedly, in English, French, and German, these fastidious markings and exact translations leave a trace and a glitch on paper and screen. Much of his existing work includes words and phrases like “tribunal,” “myself when I am real” and “the need to disappear.” Do they identify what forms, systems and sentiments that are, or could be present? Or do they warn of what is to come? Suspended in the atmosphere of a planetary body, Cornelissen’s clouds extend down to the surface, looming over Earth and Terra Nova. But are they harmless clouds, or associated with nuclear explosions? And is that the ash, dust, pollution and detritus of these invented places, the remnants of an unsustainable society, a dream factory? Or the promise of life anew? In weather forecasting, or aeromancy, the presence of clouds can promise darkness and gloom, but they can also bring cleansing. The ominous aura of the grid, an applied system and structure used by many, including draughtsmen, architects, urban planners, designers and artists to organise and sometimes classify information, is a recurring element in his work. The grid can be observed from a distant bird’s eye view, or close up, allowing Cornelissen’s large format drawings...