Art by Medium: Mylar

Layers of foliage in shades of bright teal blue, dark navy cobalt and a faint pale bluish gray grace dark teal blue branches on the pristine white background of this painting in acry...

Robert Morris Investigations (with Guggenheim Museum Labels), 1990 Graphite drawing on Mylar. Framed with the original Guggenheim Museum label (lent by Sonnabend), & Castelli Gal...

Reverse Mylar Painting, 'Blue Composition (1),' 2017 by Catherine Howe. Molding paste, oil and acrylic mediums on polyester sheeting, 40 x 30 in. / White Frame: 46 x 40.25 in. Howe's...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Gretchen Bender Thou Shalt Not Take the Name of God in Vain (The Third Commandment), 1987 2 Color Lithograph and embossment on reflective mylar Signed and numbered 37 from the limite...

'Feeling of Being', oil on paper mounted on panel features a chair for two. The painting is part of Zolotnitsky's 'Extinct Series' that focuses on abandoned chairs. The artwork is 35...

Weaving is a form of drawing, of plotting and connecting lines. Fabricating a three-dimensional, transparent object using thin strips of paper with differing colors on either side re...

The face of a young woman is featured in this oil painting on mylar, mounted on panel that is 12 x 12 inches. Professionally framed in burnished gold leaf over wood with an outer dim...

Nine chair paintings inspired by - and named after - individual artists whom Zolotnitsky met during her residency. Oil on mylar, 6 x 6 inches / framed white, 16" x 16" or as a suite...

Mixed Media on Paper Inked Mylar scorched and fused On white BFK Rives Printmaking Paper w/ Pencil and Metal Leaf Edition : Unique

Dramatic small-scale painting created with oil on mylar mounted on panel by Russian-American artist Elena Zolotnitsky that depicts a “chair” from her “Extinct series” of paintings that features abandoned chairs. Artwork is 6 x 6 inches, Professionally framed 7 x 7 inches. Elena Zolotnitsky is Inspired by the concepts of beauty, adolescence, and passing time. She seeks to create works that are alive with the raw physicality of paint, to which viewers can relate on an emotional level. Artist signed, titled, and dated verso. The condition is new and excellent. Proudly presented by Andra Norris...

artwork dimensions (unframed): 15h x 20w inches LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty. As a Georgia native, Graham’s work seeks to understand the ways in which pattern and printed textiles are informed by social and political movements. Her narratives are tightly bound to antebellum traditions while balancing the changing ideals of the new generation of southern society. Graham received her MFA from the University of Illinois at Urbana-Champaign and a BFA from Florida State University. She has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Athens Institute of Contemporary Art. She has also been a visiting artist at Tulane University and Valdosta State University. In 2016, Graham was awarded a fellowship and residency at the Ucross Foundation and the Vermont Studio Center. Graham is currently living and making work in Tucson, AZ. STATEMENT Firmly grounded in America’s expansive colonial history, my work interrogates how Southern culture has been idealized as “quintessential America” and the bedrock of traditional American values. Using my familiarity and position within Southern culture, I have created a new visual literacy to demonstrate how America’s nostalgia for tradition has been manipulated in an effort to isolate and disenfranchise. My drawings act as a visual archive of research that examines the consequences of American colonialism and addresses the sense of white fragility that continues to pervade Western culture. In the midst of widespread anxiety over the collective American identity, there has been a revival of many of the country’s unresolved historical battles, including contentious race relations, sexism, nativism, and an ever-growing wage gap. I employ the Americana aesthetic of the old South to parallel historical and contemporary acts of resistance to racial, economic, and gender diversity. Borrowing directly from the decorative arts, the meticulously hand-cut mylar and equally intricate drawing capitalizes on America’s propensity for nostalgia to lure the viewer into confronting injustices through the detached lens of that which has already happened. Through a combination of appropriated and invented imagery, my work contextually constructs contemporary accounts of systemic marginalization, executed under the guise of leisure, embellishment and luxury. The dense visual language invites investigation into the textured surfaces and leads the viewer to reflect on the social textures of contemporary culture while questioning their own complicity in current social constructs. Sourcing from period- specific textiles, turn-of-the-century advertisements, campaign posters, and found family photographs, the collaged images create a singular narrative composition that document the cyclical and systemic nature of marginalization in America. The methodology with which the drawings are constructed echoes historical layers of rules, regulations and hierarchies that are stitched into dominant white American myths. The resulting drawings are indexical in nature, recording the parallels between topics of current debate and 18th century Western expansionism. The disconnect between the delicate nature of the work and the unresolved cultural tensions that it reveals provides a visual record of the inconsistencies of American idealism. My current project explores the South as the embodiment of America’s pastoral traditions and values that are at the center of the “Make America Great Again” movement, a movement which has both exploited and is at odds with a social ideal that simultaneously proclaims itself to be “post- racial” and “post- gender” while identifying with a “pull-yourself-up-by-the-boot-straps” mentality. As one of the earliest colonized areas, the South is often portrayed as a region of racial and gender stability in the face of impending change. I am currently working with research institutions in the South to further understand how the architectural structure of the Southern plantation...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

3D multiple, 1966, published by The Something Else Press, New York, a wooden box with plexiglass slipcover, containing one book with 94 pages, ‘Performances Notations 1959/66’ 15 fol...

Luminous pink magnolia blossoms grace burgundy brown branches with hints of dark turquoise green on the pristine white background of this contemporary painting in acrylic on Mylar mo...

Robin Cole's (US based) "The Return II" is an original, handmade charcoal painting that depicts a grey monochrome sky with clouds. Nature and those that inhabit it—our human selves...

artwork dimensions (unframed): 35.5h x 39w inches LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty. As a Georgia native, Graham’s work seeks to understand the ways in which pattern and printed textiles are informed by social and political movements. Her narratives are tightly bound to antebellum traditions while balancing the changing ideals of the new generation of southern society. Graham received her MFA from the University of Illinois at Urbana-Champaign and a BFA from Florida State University. She has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Athens Institute of Contemporary Art. She has also been a visiting artist at Tulane University and Valdosta State University. In 2016, Graham was awarded a fellowship and residency at the Ucross Foundation and the Vermont Studio Center. Graham is currently living and making work in Tucson, AZ. STATEMENT Firmly grounded in America’s expansive colonial history, my work interrogates how Southern culture has been idealized as “quintessential America” and the bedrock of traditional American values. Using my familiarity and position within Southern culture, I have created a new visual literacy to demonstrate how America’s nostalgia for tradition has been manipulated in an effort to isolate and disenfranchise. My drawings act as a visual archive of research that examines the consequences of American colonialism and addresses the sense of white fragility that continues to pervade Western culture. In the midst of widespread anxiety over the collective American identity, there has been a revival of many of the country’s unresolved historical battles, including contentious race relations, sexism, nativism, and an ever-growing wage gap. I employ the Americana aesthetic of the old South to parallel historical and contemporary acts of resistance to racial, economic, and gender diversity. Borrowing directly from the decorative arts, the meticulously hand-cut mylar and equally intricate drawing capitalizes on America’s propensity for nostalgia to lure the viewer into confronting injustices through the detached lens of that which has already happened. Through a combination of appropriated and invented imagery, my work contextually constructs contemporary accounts of systemic marginalization, executed under the guise of leisure, embellishment and luxury. The dense visual language invites investigation into the textured surfaces and leads the viewer to reflect on the social textures of contemporary culture while questioning their own complicity in current social constructs. Sourcing from period- specific textiles, turn-of-the-century advertisements, campaign posters, and found family photographs, the collaged images create a singular narrative composition that document the cyclical and systemic nature of marginalization in America. The methodology with which the drawings are constructed echoes historical layers of rules, regulations and hierarchies that are stitched into dominant white American myths. The resulting drawings are indexical in nature, recording the parallels between topics of current debate and 18th century Western expansionism. The disconnect between the delicate nature of the work and the unresolved cultural tensions that it reveals provides a visual record of the inconsistencies of American idealism. My current project explores the South as the embodiment of America’s pastoral traditions and values that are at the center of the “Make America Great Again” movement, a movement which has both exploited and is at odds with a social ideal that simultaneously proclaims itself to be “post- racial” and “post- gender” while identifying with a “pull-yourself-up-by-the-boot-straps” mentality. As one of the earliest colonized areas, the South is often portrayed as a region of racial and gender stability in the face of impending change. I am currently working with research institutions in the South to further understand how the architectural structure of the Southern plantation...

Steven Baris Stations of Attention D7, 2024 oil on Mylar 24 x 21 in. (bari096) Artist Statement I characterize my work as diagrammatic, a far more apt term than the nearly meaningl...

Dramatic oil on mylar on panel painting by Elena Zolotnitsky depicting a chair from her Extinct series of abandoned chairs and their unique histories. Professionally framed in a clea...

Original collage mylar figural three dimensional artwork by the well known Long Island New York sculptor William King. Signed and dated lower right by the artist. Copyright mark lowe...

An original oil on mylar by American contemporary artist Robert Fleming from the artist's Support Series. The work is 36" (h) x 40" (w) unframed.

Layers of foliage in shades of bright blue, dark cobalt and teal grace violet blue branches on the pristine white background of this contemporary botanical painting in acrylic on Myl...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

In this contemporary landscape in sumi ink on Mylar, trees in a peaceful forest scene are intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink d...

Layers of foliage in vibrant, eye-catching shades of reddish orange with shadows of deep burgundy grace light pink branches on the pristine white background of this contemporary bota...

In this contemporary botanical painting in acrylic on Mylar mounted on acrylic panel, layers of foliage in shades of teal blue green, pale periwinkle blue gray dark indigo and hints ...

Gingko leaves in deep hues of purple and lavender on delicate brown branches with hints of teal are striking against the pristine white background of this contemporary vertical paint...

Dark indigo blue oak leaf foliage with hints of deep burgundy graces delicate branches on the pristine white background of this contemporary painting in acrylic on Mylar mounted on a...

Layers of foliage in violet and pale powder blue grace dark golden brown branches on the pristine white background of this contemporary painting in acrylic on Mylar. Battenfield's w...

Gingko leaves in deep hues of brown, dark purple and blue on delicate golden brown branches are striking against the pristine white background of this contemporary painting in acryli...

LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty...

Hand signed, numbered and dated on verso. Landscape 8, from Ten Landscapes (C. 58). Iridescent silver Mylar collage on opaque black Rowlux and gray moire Rowlux. The full sheet, moun...

abstract geometric black and white ink drawing on mylar framed in white frame For over twenty years now Patrick Carrara has lived in Brooklyn, where he has maintained a studio and s...

In this contemporary landscape in sumi ink on Mylar, trees in a peaceful forest scene are intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink d...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Layers of foliage in shades of vibrant violet purple grace turquoise teal and dark brown branches on the pristine white background of this painting in acrylic on Mylar mounted on acr...

In this contemporary botanical painting in acrylic on Mylar, layers of foliage in shades of blue from pale sky blue and periwinkle to dark navy cobalt grace the dark hunter green and...

Robin Cole's (US based) "The Return" is an original, handmade charcoal painting that depicts a grey monochrome sky with clouds. Nature and those that inhabit it—our human selves in...

This beautiful orange work is by Cathy Choi. Her pieces are minimalist, colorful and highly glossed surfaces. Finding inspiration from the physical and metaphysical qualities of wate...

Layers of blossoming foliage in shades of violet grace teal and dark brown branches on the pristine white background of this contemporary botanical painting in acrylic on Mylar mount...

In this contemporary landscape in sumi ink on Mylar, a peaceful forest scene reflected on a stream is intricately detailed, beautifully capturing the serenity of a walk in the woods....

In this contemporary landscape in sumi ink on Mylar, a peaceful forest scene reflected on a lake is intricately detailed, beautifully capturing the serenity of a walk in the woods. ...

In this contemporary landscape in sumi ink on Mylar, a peaceful forest scene at wintertime is intricately detailed, beautifully capturing the serenity of a walk in the snow covered w...

This abstract composition in blue and brown black earthtones is created with a unique perspective which gives a feeling of looking up at a sky or looking down into merging paths of w...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

"Descriptions I have heard or read of my work, most of which either delight or offend me, are: allegorical, apocalyptic, provocative, prophetic, dream-like, surreal, fantastic, weird...

Tree branches in dramatic hues of dark blue are striking against the pristine white background of this contemporary painting in acrylic on Mylar. This painting on Mylar requires mou...

Layers of foliage in vibrant shades of deep purple grace dark brown branches on the pristine white background of this horizontal painting in acrylic on Mylar mounted on acrylic panel...

Layers of foliage on a gingko tree with coral reddish orange leaves grace dark indigo branches on the pristine white background of this contemporary botanical painting on Mylar mount...

In this contemporary botanical painting in acrylic on Mylar, layers of foliage grace delicate branches in shades of deep violet on the pristine white background. This painting is mo...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

This abstract composition in blue and brown black earthtones is created with a unique perspective which gives a feeling of looking up at a sky or looking down into merging paths of water. Cyphers use of silver leaf gives the central forms a reflective glow, which balances well with her masterful brushwork and mark making. This painting has a meditative quality that draws the viewer in and allows for introspective thought. Peggy Cyphers, “Silver Spider Spirit”acrylic and silver leaf on mylar ($2750 USD framed in shadowbox frame with museum glass) Peggy Cyphers has had over 30 solo exhibitions throughout the United States and Europe since 1984. Cyphers received numerous awards for her work, including NEA, Elizabeth Foundation, Peter S...