Unframed Art

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

Black and white fine art landscape photography. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed ...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvas...

Hiroshi Sato's "Break," completed in 2024, is a striking oil on canvas painting measuring 44 x 80 inches (111.76 x 203.20 cm). This original artwork features a vibrant urban landscap...

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Mixed media on paper Original art by DARIA KUSTO The magic flow reality.. Shipped well protected, unframed.

Fernand LÉGER Still life with Blue Pitcher and Fruits, c. 1950 Original lithograph and stencil (Jacomet workshop) Printed signature in the plate On paper 43 x 33 cm (c. 17 x 13 Inc...

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Title: French Impressionist Oil Painting of Small Boats Anchored by the Shore By Fanch Lel (French b. 1930) Size: 8.75 x 10.75 inches (height x width) Signed: Yes Oil painting on boa...

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Kyohei Inukai Life Forces - 1978 Print - Silkscreen   30'' x 22½'' in Edition: signed in pencil and marked 128/200 Since the 1940s, Kyohei Inukai has created his own brand of illusi...

The painting "Waiting" is painted on canvas with oil paints in impasto style. A very cute story with a cat sitting in the window of an old house, waiting for its owner. A wonderful...

LEONARDO NIERMAN – UNTITLED TAPESTRY ⚜ Wool tapestry ⚜ Signed in the weaving lower right ⚜ Weaver: Gobelinos Riedl ⚜ Features original hanging loops ABSTRACT EXPRESSIONIST TAPESTRY ...

Pau Escat is an asbtract artist originating from Barcelona, Spain, born in 1984. His passion for art has led him to develop a prominent career in the field of contemporary art. His a...

Abstract geometric three-dimensional wood wall sculpture resembling stacked books in blue, grey, and white "Blue Books", hand-carved wooden wall sculpture ...

This lithograph page by René Bazaine from Derrière le Miroir No. 170 features abstract forms inspired by natural elements like water and foliage. The artwork's rich colors and harmon...

Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.64 x 7.08 inches Inscription: Signed in the...

ZT 230604 is a unique one-of-a-kind medium size contemporary modern painting relief by Dutch artist Herman Coppus. This bas-relief relief consists of a meticulously hand cut, folded ...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and Joan Miró. Joan Miró, Cata...

Banksy (after) Walled Off Hotel Boxed Set Assemblage, 2018 Mixed Media assemblage: unique piece of concrete/cement wall with framed lithograph. Accompanied by original embossed rece...

from a series of photographic observances capturing the antics of urban gardening and striking art of topiaries' green minimalism Topiary I by Frank Schott ...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for more information. ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd ...

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Paper Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Image Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Detai...

This piece titled "DALL·E 2023-04-23 11.28.28" is a crafted original piece by Tuft the World as part of the inaugural collection of TTW Editions. This piece measures 43"h x 66"w and ...

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The 2000 Roland Garros poster by Antoni Tàpies is a compelling fusion of sport and abstract art. Its textured, abstract composition and philosophi...

This reproduction poster of La Serrure by Leonor Fini captures the enigmatic and symbolic nature of the original artwork. Leonor Fini was known for her surreal and fantastical imager...

Kathy is an elegant figurative bronze sculpture by Nando Kallweit. This striking sculpture features a slender, elongated nude female figure, exuding elegance and introspection. The ...

Abstract Art, Modern Original Glass and Metal Wall Sculpture Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2022 Style: Contemporar...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvases are the foundations of a new visual dialogue. Fisch paints with a jazz-like spontaneity, expressing personal emotions, commenting on contemporary society, and exploring old mythologies. Formulating a galaxy of the unknown, Fisch’s textural paintings flood the mind with possibility. His process is instinctive and organic, the paintings energetic and vibrant, emerging from his subconscious without judgment. They are constructed by feelings trying to find harmony. Endless figures, messages, layers, and symbols move in and out of focus as the eye explores his puzzle pieces with varied solutions. Jonas Fisch created this one-of-a-kind colorful 50-inch tall by 55-inch wide painting with mixed media. acrylic, and oil stick on canvas. This artwork is stretched and is ready to hang. This artwork does not require framing. It is signed by the artist on the back of the painting. Free delivery is available for those in the local Los Angeles area, and affordable worldwide shipping is available for US and international art collectors. A certificate of authenticity issued by the art gallery is included with the artwork, ensuring that the piece is an authentic work of art from Jonas Fisch. Born in a small fisherman's village in southern Sweden, contemporary artist Jonas Fisch discovered his love for drawing and painting at a young age and was inspired to pursue his passion by renowned artist and grandmother Ann-Marie Sjögren. Fisch reflects, “As a fundamentally introspective person, I have an explosive need to express and communicate my innermost rays, reflections, and shadows. The canvas, the brush, and the paint allow me to act out, throw up, confront, and examine those innermost feelings. Painting becomes my outlet. At a certain moment, each shape, stroke, and color suddenly takes over and the painting reveals itself. It becomes an expressive personal collaboration of art." Fisch's artworks have been exhibited across the United States, Switzerland, and Hong Kong. His paintings can be found in private collections worldwide. REPRESENTATION: Artspace Warehouse, Los Angeles Exhibitions 2018 Artspace Warehouse Los Angeles, CA 2018 New York Affordable Art...

Artist: Ashot Yan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Linen, Year: 2018 Style: Academic Realism, Subject: Portrait, Size: 9.5" x 7.5" x 1'' i...

Artist: Phillip Graybill Title: Three Horses Edition: Signed and numbered in the margin, archival pigment prints on 100% cotton rag paper with a Baryta finish. Edition as follows: 24X24 from an edition of 25 Remastered and printed at FATHOM Los Angeles Frame: FATHOM solid hardwood frames are sourced from managed forests that meet or exceed FSC certification standards. The shadow box style frame is 1 1/4 in high by 3/4 in wide with premium plexiglass. Phillip Graybill is from Atlanta, Georgia. He moved to NYC in 1996 where he lived for 20 years and now splits his time between NYC and Venice, Ca.  He has exhibited with celebrated artist Julian Schnabel. He has also exhibited alongside such photographic luminaries as Peter Lindbergh and Nigel Barker. Graybill was the primary photographer for the Nine Inch Nails...

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large scale photograph of billboard sign with conceptual message in iconic landscape of the American West. A series of images capturing the unique infi...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Chagall, Marc, and Julien Cain. Chagall Lithogr...

There is a metaphorical interplay between the natural imagery international artist, Jennyfer Stratman, uses and its multiple meanings. While the human figure features strongly, it is the essence of the body that is important to her, not the representation. Particularly, the artist imagines trees and branches as a figurative link between the natural environment and our physical presence. The implied internal landscape of the body can also be reflected in how our surroundings from birth affect our sense of identity. By exploring landscapes of the body and mind, she also hopes to comment on the larger picture of our impact on the natural world. This unique bronze and painted steel sculpture measures 12 inches square and 1.5 inches deep. It is signed by Stratman on the back. Free local Los Angeles delivery. Affordable Continental U.S. and International shipping available. A certificate of authenticity issued by the art gallery is included. Stratman grew up in Phoenix, Arizona. In 1992 she commenced her studies at Arizona State University majoring in visual arts and art education. Stratman entered academia as a ceramicist. With each passing semester, the scale of her creations expanded and the material limitations of working with clay ultimately led her to the university foundry. This opened a door into another world of creative possibilities, profoundly changing her artistic direction. She replaced fired clay with larger-scale bronze, steel, and mixed media sculptures yet retained a delicacy, intimacy, and intricacy imbued from the ceramic process. Today she is a full-time established artist with studios operating in Phoenix, Arizona and Melbourne, Australia. Her time is divided between the two countries with each location informing and influencing the creative process. She has exhibited in 31 solo exhibitions and over 100 group exhibitions nationally and internationally. Her indoor and outdoor sculptures are held in public and private collections in countries including the United States, Australia, Canada, Hong Kong, Singapore, Taiwan, Israel, England, and Europe. Artplex Gallery has been representing and exhibiting Jennyfer Stratman's original artworks in Los Angeles since 2021, presenting her impressive works to an international collector base around the globe. The gallery has been a 1stdibs partner since 2014 with consistently excellent reviews from clients worldwide. The gallery exhibits a well-curated selection of original artworks beyond the ordinary from established and emerging international artists with diverse backgrounds at high standards. Artplex Gallery is known to provide accurate descriptions, images, reliable services, communication, and delivery. The gallery's commitment to customer satisfaction means that clients can invest in art with confidence, knowing they have a reputable and established art gallery backing their acquisition. Artplex Gallery prioritizes our clients' peace of mind by ensuring a seamless and worry-free art-buying experience. REPRESENTATION Artplex Gallery, Los Angeles, USA SOLO EXHIBITIONS 2023 Solo Exhibition, Grace Renee Gallery, Carefree, Arizona 2021 “Natural Connections”, Manyung Gallery, Melbourne, Australia 2020 “Celestial Forms”, Manyung Gallery, Melbourne, Australia 2019 “Solo Exhibition”, Grace Renee Gallery, Carefree, AZ 2018 “The Etheral Garden”, Manyung Gallery, Melbourne, Australia “The Gravity Between Us”, Calvin Charles Gallery, Scottsdale, AZ 2017 “Tree Within Me”, Avran Fine Art, Laguna, CA 2016 “Constellation”, Manyung Gallery, Melbourne, Australia “Cultivating The Wild”, Calvin Charles Gallery, Scottsdale, AZ 2015 “Connection”, Mirada Fine Art, Denver, CO “Transformation”, Contemporary Fine Arts Gallery, La Jolla, CA 2014 “Cultivating Memory”, Michele Mariaud Gallery, NYC “Connected Elements”, Calvin Charles Gallery, Scottsdale AZ 2013 “Interconnection”, Contemporary Fine Arts Gallery, La Jolla, CA 2012 “Internal Landscapes”, Mirada Fine Art, Denver, CO 2011 “Reflective Landscapes”, Stockroom, Kyneton, Australia “Propagated Reflections”, Calvin Charles Gallery, Scottsdale,AZ 2010 “Hybrid”, GF Contemporary, Santa Fe, NM GROUP EXHIBITIONS 2023 Nature Art Soiree, Manyung Gallery, Melbourne Australia Affordable Art Fair Sydney, Manyung Gallery, Sydney Australia 2022 Affordable Art Fair Melbourne, Manyung Gallery, Melbourne, Australia CHAOS Theory 22, Legend City Studios, Pheonix, Arizona Endings And Beginnings, Modified Arts, Pheonix, Arizona Skies of Fruitful Nights, Artplex Gallery, Los Angeles, California 2021 Every Artist Ever Ten Year Anniversary Show, Stockroom Gallery, Melbourne, Australia CHAOS Theory 21, Legend City Studios, Pheonix, Arizona 2020 Affordable Online Art Fair, Manyung Gallery, Worldwide 2019 Portland on the Park Collection Exhibition, Phoenix, Arizona CHAOS Theory 20, Legend City Studios, Phoenix, Arizona Loreto Spring Art, Marryatville, South Australia Toorak Village Festival of Sculpture, Melbourne, Australia 2018 Carmody Foundation Grant Recipient, Phoenix, Arizona CHAOS Theory 19, Legend City Studios, Phoenix, Arizona Affordable Art Fair Hong Kong, with TAG Fine Arts, Hong Kong Toorak Village Festival of Sculpture 2018, Toorak, Victoria Affordable Art Fair New York, with TAG Fine Arts, New York Battersea Art Fair, TAG Fine Arts, London, England 2017 Affordable Art Fair Singapore, TAG Fine Arts, Singapore Choice Cuts, The Lodge Art Studio, Phoenix, Arizona CHAOS Theory 18, Legend City Studios, Phoenix, Arizona INFLUX 2017, Public Sculpture Outdoor Installation, City of Gilbert, Arizona Affordable Art Fair Hong Kong, TAG Fine Arts, Hong Kong Affordable Art Fair Hampstead, TAG Fine Arts, London, England Calm In The Storm, Mirada Fine Art, Denver, Colorado Battersea Art Fair, TAG Fine Arts, London, England London Art Fair, TAG Fine Arts, London, England 2016 Expatriates, & Gallery, Melbourne, Australia Affordable Art Fair London, Mark Jason Gallery, London Affordable Art Fair Singapore, Mark Jason Gallery, Singapore Affordable Art Fair Hong Kong, Mark Jason Gallery, Hong Kong Affordable Art Fair New York, Michele Mariaud Gallery, New York 2015 Solidity, Calvin Charles Gallery, Scottsdale, Arizona littleSCULPTURE Show, Int’l Sculpture Conference, Bentley Gallery, Phoenix, Arizona Distilled In The Desert, Grant Street Studios, Arizona State University, Phoenix Manyung Gallery Group Exhibition, Manyung Gallery, Mt Eliza, Victoria Connecting With Nature, Calvin Charles Gallery, Scottsdale, Arizona Affordable Art Fair Hong Kong, Mark Jason Gallery, Hong Kong 2014 Affordable Art Fair Singapore, Mark Jason Gallery, Singapore Affordable Art Fair Hong Kong, Michele Mariaud Gallery, Hong Kong Art Palm Beach 2014, Michele Mariaud Gallery, Palm Beach, Florida Darebin Art Show, Bundoora Homestead Art Centre, Bundoora, Victoria 2013 Affordable Art Fair New York City, Living With Art, New York City Affordable Art Fair Hong Kong, Living With Art, Hong Kong Northern Lights, Bundoora Homestead Art Centre, Bundoora, Victoria Art Palm Beach 2013, Living With Art, Palm Beach, Florida 2012 Affordable Art Fair Seattle, GF Contemporary, Seattle, Washington Petite, Calvin Charles Gallery, Scottsdale, Arizona Affordable Art Fair New York City, with Living With Art, New York City Ladies Night, Contemporary Fine Arts Gallery, La Jolla, California AD 20/21- Art and Design of the 20th & 21st Centuries, Boston Center for the Arts, Boston, Massachusetts Montalto Acquisitive Sculpture Prize 2012, Montalto Vineyard, Red Hill, Victoria 2011 You Are Here, Stockroom, Kyneton, Victoria, awarded “Fundere Fine Art Prize” Transformation, Box Hill Community Arts Centre 4th Biennial Art Competition, Box Hill, Victoria Darebin Art Show, Bundoora Homestead Art Centre, Bundoora, Victoria San Francisco Art Fair, GF Contemporary, San Francisco, California AD 20/21- Art and Design of the 20th & 21st Centuries, Boston Center for the Arts, Boston, Massachusetts 2010 Alive, Shemer Art Center and Museum, Phoenix, Arizona Williamstown Contemporary Art Prize 2010, The Substation Arts Centre, Williamstown, Victoria Bonanza, Yarra Sculpture Gallery, Abbotsford, Victoria Montalto Acquisitive Sculpture Prize 2010, Montalto Vineyard, Red Hill, Victoria 2009 2009 Toyota Sculpture Exhibition, Toyota Community Spirit Gallery, Port Melbourne Sanctuary Resort, outdoor sculpture, Scottsdale, Arizona Toorak Village Sculpture Exhibition 2009, Toorak, Victoria Williamstown Contemporary Art Prize 2009, The Substation Arts Centre, Williamstown, Victoria Montalto Acquisitive Sculpture Prize 2009, Montalto Vineyard, Red Hill, Victoria 2008 Knoxville Museum of Art, Knoxville, Tennessee Northern Exposure 08, High Street Northcote Visual Arts Showcase, Northcote, Victoria 2007 Affordable Art Fair New York City, 707 Contemporary, New York City 2007 Toyota Sculpture Exhibition, Toyota Community Spirit Gallery, Port Melbourne, Victoria Posted, Yarra Sculpture Gallery, Abbotsford, Victoria Tattersall’s Contemporary Art Prize 2007, The Substation Arts Centre, Williamstown, Victoria Montalto Acquisitive Sculpture Prize 2007, Montalto Vineyard, Red Hill, Victoria 2006 Contemporary Landscape (4 woman show), Contemporary Fine Art Gallery, La Jolla, California Melbourne Art Fair, with Über Gallery, Melbourne, Victoria Affordable Art Fair New York City, 707 Contemporary, New York City Contemporary Forum Art Auction, Phoenix Art Museum, Phoenix, Arizona Art Scottsdale, Phoenix, Arizona Toorak Village Festival of Sculpture 2006, Toorak, Victoria Montalto Acquisitive Sculpture Prize 2006, Montalto Vineyard, Red Hill, Victoria 2005 Toorak Village Festival of Sculpture 2005, Toorak, Victoria Neo Millennium, Toyota Community Spirit Gallery, Port Melbourne, Victoria Montalto Acquisitive Sculpture Prize 2005, Montalto Vineyard, Red Hill, Victoria 2004 The Collectors’ Show, Über Gallery, Melbourne, Victoria Contemporary Fine Arts Gallery, La Jolla, California I am Woman: Courage, Spirit, & Strength, Calvin Charles Gallery, Scottsdale, Arizona Toorak Village Festival of Sculpture 2004, Toorak, Victoria Affordable Art Fair, Melbourne Exhibition Centre, Melbourne, Victoria Threadbo ‘Art with Altitude” competition, Threadbo Alpine Hotel, Threadbo, NSW Montalto Acquisitive Sculpture Prize 2004, Montalto Vineyard, Red Hill, Victoria 2003 A4 Art, West Space, Melbourne, Victoria Summer Spectacular, Calvin Charles Gallery, Scottsdale, Arizona Bonanza, Yarra Sculpture Gallery, Abbotsford, Victoria Hermanns Art Award, Christine Abrahams Gallery, Richmond, Victoria, Toured Shepparton Regional Art Gallery, Quadrivium Sydney and Grafton Regional Art Gallery CONstruct, Dante’s Upstairs Gallery, Fitzroy, Victoria Montalto Acquisitive Sculpture Prize 2003, Montalto Vineyard and Olive Grove, Red Hill, Victoria, awarded “People’s Choice Award” 2002 Summer Spectacular, L’Asietique Gallery, Scottsdale, Arizona The Darebin Art Show, Federation Centre for the Arts, Bundoora, Victoria shopfronts/ARTFRONTS, Coburg Public Art Project, Coburg, Victoria Toorak Village Festival of Sculpture 2002, Repliqué, Toorak, Victoria Central Goldfields Sculpture Prize and Exhibition, Central Goldfields Art Gallery, Maryborough, Victoria Emerging Artist Program, Mirá Fine Art Gallery, Melbourne, Victoria Linden Postcard Show, Linden Centre for Contemporary Art, St Kilda, Victoria 2001 Bonanza, Yarra Sculpture Gallery, Abbotsford, Victoria Yering Station Winery, Yarra Glen, Victoria Fundêre Sculpture Prize, Yarra Sculpture Gallery, Abbotsford, Victoria Darebin~La Trobe Acquisitive Art Prize, Federation Centre for the Arts, Bundoora, Victoria Thursday Plantation East Coast Sculpture Show, Ballina, New South Wales 171- II, Mansour & Hill Gallery, Melbourne, Victoria Phoenix First Fridays, The Lofts at Filmore, Phoenix Arizona 2000 Blue-Lite Invitational, MARS Artspace, Phoenix, Arizona Presence in Metal, Tempe Center Sculpture Gallery, Tempe, Arizona Drawings for Sculpture, Harry Wood Annex, Tempe Arizona Roots: Environmental Issues of Interconnectedness, GOCAIA: Gallery of Contemporary and Indigenous Art, Tucson, Arizona, awarded “Best of Show” Solarlobotomy, MARS Artspace, Phoenix, Arizona Sites Around the City- Art and the Environment, Tempe Beach Park, Arizona Hot Off the Ladle, Tempe Center Sculpture Gallery, Tempe, Arizona 3 Person Show, Modified Arts, Phoenix, Arizona 1999 Cleavage: an exhibition on the breast, Jonson Gallery, Albuquerque, New Mexico In Flux, Harry Wood Gallery, Tempe, Arizona Yoni, Ice House and Step Gallery, Phoenix, Arizona 1998 Milieu: of art and space, Spine Gallery, Phoenix, Arizona SCULPTURE: New Works, Harry Wood Gallery, Tempe, Arizona An Altogether Different Self Portrait, Step Gallery, Tempe, Arizona Fahrenheit 2150, Contemporary Cast Metal, Step Gallery, Tempe, Arizona 1997 Clay Doh: a show of ceramic works, Step Gallery, Tempe, Arizona (skulp’Cher), Harry Wood Gallery, Tempe, Arizona 1/4 Inch, Tempe Center for the Arts, Tempe, Arizona The Fifth Dimension, Sculpture Exhibition, Arizona State University, Tempe, Arizona PUBLIC AND CORPORATE COLLECTIONS ASU Biomedical Campus Phoenix, Arizona City of Phoenix, Arizona Phoenix Bike Rack Project, Public Sculpture City of Gilbert, Arizona, “Connection Point”, Public Sculpture City of Cardinia, Victoria, “Segmented Landscape”, Public Sculpture Jewish Community Centre Omaha, Nebraska AC Marriott, San Jose, California Idaho College of Osteopathic Medicine Meridian, Idaho Palos Verde Golf Club South Bay, California Coushatta Grand Hotel Kinder, Louisiana Marriott Hotel Atlanta, Georgia Rangely Hospital Chicago, Illinois The Patrón Spirits Schaffhausen, Switzerland and Las Vegas, NV Pinpoint HRM Melbourne, Australia Dial Corporation Phoenix, Arizona Healthpoint Ltd Fort Worth, Texas Hermanns Group Melbourne, Australia Dreams: Melbourne Central Melbourne, Australia Duo Design Phoenix, Arizona Phoenix Downtown Magazine Phoenix, Arizona In addition to hundreds of private collections MEDIA APPEARANCES, PUBLICATIONS 2021 Thrive: Arizona State University Magazine, ‘Champion The Arts’, Arizona (Volume 24) 2020 The Jewish Press, ‘Art On Our Campus: Connection Point’, Omaha 2019 Arizona Images Magazine, ‘Forging Connections’, Arizona 2018 Voyage Phoenix Magazine, ‘Thought Provokers Series’, Arizona Java Magazine, ‘Jennyfer Stratman: Casting Connections’, Arizona Phoenix Home and Garden Magazine, ‘The World Within’, Arizona Downtown Phoenix Journal, ‘Locally Designed Bike Racks Unveiled Mar 17, 2018’, Arizona YabYum Music and Arts, Arizona 2015 Sculpture Magazine, ‘You Can’t Contain A Wildflower’, Denver Post, YourHub, ‘Artists share an affinity in nature, emotion’, The Arizona Republic, ‘Scottsdale gallery presents 3 artists who are “Connecting with Nature”’ 2014 ABC 15 television news interview, ‘Tues Afternoon News’, Arizona (March) ABC 15 television news interview, ‘Sunday Mornings’, Arizona (March) 2012 303 Magazine, ‘Internal Landscapes at Mirada Fine Art Gallery’, Denver Post, YourHub, ‘Stratman’s First CO Show Debuts June 22’, Television Segment/ Interview ‘Sonoran Living ABC15’, Arizona Phoenix Home & Garden Magazine 2011 Luxe Magazine 2010 American Art Collector Australian Financial Review Trouble Magazine, Australia 2007 The Age Newspaper, ‘A2’, Meagan Backhouse, Australia The Age Newspaper, ‘Upfront’, Brigitte Barta, Australia The Age Newspaper, Australia Emerald Hill Weekly: ‘Statuesque Showing’, Sharon Green Pakenham Journal, ‘Loving The Land’, Diana Wells, Australia Berwick Gazette and Pakenham Gazette, Australia Delicious Magazine, Australia 2006 Berwick Gazette and Pakenham Gazette, Australia Northcote Leader, Australia First Mondays, monthly art salons (public art lecture), Phoenix Public Library The New Times, Arizona 2005 The Phoenix Gazette, Arizona Sunday Arts, television program on the ABC (Australian Public Broadcast) The Age Newspaper, Australia Australian Art Collector Art Almanac: The Essential Guide to Australian Galleries...

Robert Mangold Multiple Panel Paintings 1973-1976, Edition C, 1992 Suite of nine screenprints on Fabriano paper 11 3/4 x 24 in (2880.4 x 61 cm) Edition of 300

Walasse Ting Grasshoppers - 1981 Print - Lithograph on Arches Archival Paper   22'' x 30'' Edition: Signed in pencil and marked 170/200 Walasse Ting (DING XIONGQUAN) (October 13, 19...

"Observe a tree, a flower, a plant. Let your awareness rest upon it. How still they are, how deeply rooted in Being. Allow nature to teach you stillness." – Eckhart Tolle Let your g...

Silksreen, 1969 Handsigned by the artist in pencil Edition : 120/250 Publisher : Fondation Vasarely, Château de Gordes Printer : Arcay, Paris Catalog : Benavides 165 72.00 cm. x 62....

Xsakioro is a bronze sculpture by contemporary artist Jacques Owczarek, dimensions are 94 × 65 × 47 cm (37 × 25.6 × 18.5 in). The sculpture is signed and numbered, it is part of a l...

Seals Wood-engraving with original colouring. 1879. 160mm by 245mm (sheet). Key below the image. From Oliver Goldsmith's 'A History of the Earth and Animated Nature'.

Title: Warm Spring Day Medium: Oil on canvas Size: 23 x 19 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This pai...

House on The River signed by Fanch Lel (French b. 1930) size: 13 x 18 inches oil painting on board, unframed condition: the painting is in very good condition. It has previously been...

Pursuing dreams beyond borders is a journey fraught with complexities and challenges, yet it also offers profound opportunities for growth and transformation. "Finding Solace in Fore...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Olympia - Poster is a vintage poster realized by the italian artist Francesco Clemente (Naples, 1952) in occasion of the XIV Winter Olympics games in Sarajevo, in 1984. Very good co...

In this contemporary still life painting in oil on canvas, a dark brown vase on a table holds a bouquet of coral pink anemone flowers with pink tulips and light green stems and leave...

Pablo PICASSO (1881-1973) Diurnes, On the Rock, 1962 Original collotype and stencil (Jacomet workshop) Unsigned Limited to 1000 copy On paper 30 x 40 cm (c. 11,8 x 15.7 in) REFERE...

Tankpetrol, Lost, 2023 Acrylic, hand-cut stencils, spray paint copper paint on deep edge canvas 100 x 150 cm (39.37 x 59.05 in) Original artwork Polish-born Irek Jasutowicz bett...

"Look at a tree, a flower, a plant. Let your awareness rest upon it. How still they are, how deeply rooted in Being. Allow nature to teach you stillness." – Eckhart Tolle Abstract t...

Remnants of our consumer culture keep finding their way into my work. Our visual lives are cluttered with packages, clothing and furnishings that come at us in a swirl of color and p...