Art by Medium: Mylar

Anonymous Self Portrait XXXVI 2018 Signed and dated on label, verso Ink, graphite, and oil paint on double-sided frosted Mylar film mounted to board 55 x 41.5 inches $17,000 Thi...

Mary Borgman’s work captivates the viewer in several ways. First is their scale. They hang like medieval tapestries, with figures standing as tall as eight feet. There is also their texture – created by using charcoal on Mylar, and the results are richly gestural, with distinct charcoal strokes and eraser marks animating the figure and ground alike. With a flat surface, she creates volume and life. And perhaps the most powerful of all, the viewer is caught be the gazes of the models, who stare forcefully out of the picture. They seem to be examining us every bit as much as we are examining them. These larger-than-life portraits stem from chance encounters that grow into meaningful connections between the artist and her subject. Most are strangers that she approaches on the street. They capture her attention with expressive eyes that show experience and wisdom, distinctive shapes and a casual body language. “I try to honor the people I am drawing by centering them in the format and shooting from slightly below their eye level. I choose an expression that exudes intelligence, self-awareness and complexity. I try to convey their humanness. I want the viewer to feel this person might be someone interesting to know”, says Borgman of her subjects. The intensity with which she conveys the eyes may stem from her many years of communicating in sign language, which is based on sustained eye contact. Borgman loves the directness of drawing. It is immediate, there is no lag time. There is no time waiting for the paint to dry. She works solely in charcoal which she can manipulate to achieve varying degrees of darkness and opacity. It is messy and the artist loves that. Mary Borgman Portrait of Matt Latham charcoal on mylar 60h x 40w in 152.40h x 101.60w cm MBG011 FRAMED DIMENSIONS 62h x 42w x 2.25d in 157.48h x 106.68w x 5.71d cm [This work is custom framed in shadow box style with non-reflective Tru-Vue Museum Glass] Mary Borgman b. October 4, 1959 St. Louis, MO SELECTED EXHIBITIONS 2017 Grand Opening: Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2013 SOFA Chicago 2013, Ann Nathan Gallery, Navy Pier, Chicago, IL Portraiture Now: Drawing on the Edge, National Portrait Gallery, Arkansas Art Center, Little Rock, AR 2012 Portraiture Now: Drawing on the Edge, National Portrait Gallery, Washington D.C. SOFA Chicago 2012, Ann Nathan Gallery, Navy Pier, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2011 Gallery Group Ann Nathan Gallery, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2010 SOFA Chicago 2010: Special Installation at SOFA Café, Navy Pier, Chicago, IL What’s the Buzz on the Playground: Art of Today from St. Louis curated by Mary Sprague...

Steven Baris Stations of Attention D11, 2025 oil on Mylar 24 x 21 in. (bari099) Artist Statement I characterize my work as diagrammatic, a far more apt term than the nearly meaning...

Steven Baris Chunking Diagram D2, 2024 oil on Mylar 24 x 21 in. (bari098) Artist Statement I characterize my work as diagrammatic, a far more apt term than the nearly meaningless ca...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

The face of a young woman is featured in this oil painting on mylar, mounted on panel that is 18 x 16 inches. A compelling and elegant work of art by Elena Zolotnitsky, who is Inspir...

Dina Brodsky's realist oil on mylar animal miniature, "Egret," 2018, depicts an Egret preening itself, its neck arched elegantly as it reaches for its furthest wings. The bird's bril...

Mixed media composite (acrylics, sumi ink and pencil on mylar, fused with Monotype mounted with white thread stitching) on white BFK Rives Printmaking Paper Paper: 15" x 19" At the...

Reverse Mylar Painting, 'Blue Composition (2),' 2017 by Catherine Howe. Oil and acrylic mediums on polyester sheeting, 40 x 30 in. / White Frame: 46 x 40.25 in. Howe's reverse-paint...

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...

Gold and alabaster-esque blue oil painting, 'Remake' featuring a statue from antiquity, in oil on mylar, mounted to panel; from Russian American visual artist, Elena Zolotnitsky, who...

This is a series of five original photo based drawing and painting created on layered mylar as a negative to create the glowing images. The final piece is printed onto archival pigment paper. - Series of 5 original images - Edition of 3 - Signed and numbered by artist - Image dimensions 24" (h) x 19.8" (l); paper size: 30" (h) x 20"(l) - Unframed print - framing available upon request This technique was used to create an art exhibit installed at Los Angeles' Hammer Museum. Christine Nguyen is a Los Angeles based artist. She received her B.F.A from California State University, Long Beach and M.F.A from University of California, Irvine. As an artist, she is inspired by literature, science, nature, astronomy, geology, marine biology. The layering of works, creating depth, process and nature are important elements of her work . For example, salt crystallization has been used on found objects and encrusted on photo based works on paper. The salt crystallization process is similar to preserving some objects, while disintegrating others with time. By incorporating salt crystals onto the photo based paintings, the image presents a mystical otherworldly feel, capturing and refracting light and the slippage of time. Using photography’s processes as a point of departure, Christine Nguyen’s pioneering spirit led her to begin manipulating negatives and onward–creating her own by cutting, layering, and adding on. Nguyen’s subsequent explorations embrace drawing and object making alike, each body of work permeated with a sense of profound discovery. –Julie Dickover, Associate Registrar at the Hammer Museum in Los Angeles from 2003 to 2010 Her work has been exhibited locally, nationally and internationally such as at the Hammer Museum, Los Angeles; Kunsthalle zu Kiel, Kiel, Germany; Laguna Beach Art Museum, Laguna Beach;Pasadena Museum of California Art, Pasadena and are in many private collections. --- Images show: - Mountain Water...

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...

* Provenance: This artwork was included in Portraiture Now: Drawing on the Edge, at the National Portrait Gallery in Washington DC, 2012-2013. The exhibition traveled to the Arkansas Art Center in Little Rock, AR in 2013. Mary Borgman b. October 4, 1959 St. Louis, MO SELECTED EXHIBITIONS 2017 Grand Opening: Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2013 SOFA Chicago 2013, Ann Nathan Gallery, Navy Pier, Chicago, IL Portraiture Now: Drawing on the Edge, National Portrait Gallery, Arkansas Art Center, Little Rock, AR 2012 Portraiture Now: Drawing on the Edge, National Portrait Gallery, Washington D.C. SOFA Chicago 2012, Ann Nathan Gallery, Navy Pier, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2011 Gallery Group Ann Nathan Gallery, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2010 SOFA Chicago 2010: Special Installation at SOFA Café, Navy Pier, Chicago, IL What’s the Buzz on the Playground: Art of Today from St. Louis curated by Mary Sprague...

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...

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 ...

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...

artwork dimensions (unframed): 59h x 41w inches LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing simil...

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...

This is a beautiful Ink on Mylar by Alexis Portilla, unframed. Hand of Neptune 26 x 18 in. Ink and Mylar mounted on watercolor paper Unframed Framing av...

This is a beautiful Ink on Mylar by Alexis Portilla, unframed. Hand of Neptune 25.5 x 20 in. Ink and Mylar mounted on acid free foam core Unframed Fram...

Ink, graphite, and oil paint on double-sided frosted Mylar film mounted to board Signed and dated on label, verso This artwork is offered by ClampArt, located in New York City. Cub...

This is a series of five original photo based drawing and painting created on layered mylar as a negative to create the glowing images. The final piece is printed onto archival pigment paper. - Series of 5 original images - Edition of 3 - Signed and numbered by artist - Image dimensions 24" (h) x 19.8" (l); paper size: 30" (h) x 20"(l) - Unframed print - framing available upon request This technique was used to create an art exhibit installed at Los Angeles' Hammer Museum. Christine Nguyen is a Los Angeles based artist. She received her B.F.A from California State University, Long Beach and M.F.A from University of California, Irvine. As an artist, she is inspired by literature, science, nature, astronomy, geology, marine biology. The layering of works, creating depth, process and nature are important elements of her work . For example, salt crystallization has been used on found objects and encrusted on photo based works on paper. The salt crystallization process is similar to preserving some objects, while disintegrating others with time. By incorporating salt crystals onto the photo based paintings, the image presents a mystical otherworldly feel, capturing and refracting light and the slippage of time. Using photography’s processes as a point of departure, Christine Nguyen’s pioneering spirit led her to begin manipulating negatives and onward–creating her own by cutting, layering, and adding on. Nguyen’s subsequent explorations embrace drawing...

artwork dimensions (without frame): 33h x 45w x 6d inches Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sha...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Marcus Bowcott is a Vancouver-based painter and sculptor whose four-decade practice interrogates the uneasy coexistence of industrial civilization and the natural world. Working acro...

Margo Vibes 1.2.3. projects a playful use of color and shapes. Formed with plaster of Paris with spray paint and encrusted with photography art print cuttings, glass bits, mylar, mir...

This is a beautiful Ink on Mylar by Alexis Portilla, unframed. Hematite is a mineral and is the most important component of iron. In nature, it has a beau...

This is a beautiful ink on Mylar by Alexis Portilla, unframed. Daylight 26.5 x 21 in. Ink and Mylar mounted on acid free foam core Unframed Framing a...

artwork dimensions (unframed): 20h x 14w 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...

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...

artwork dimensions (unframed): 37.5h x 13.5w inches Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing s...

artwork dimensions (unframed): 37.5h x 13.5w inches Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing s...

Plaything, 20”x20”, Ink on Hand-Cut Mylar, 2018 This piece focuses on America's cultural appropriation and exploitation of Mexican culture. Living in the desert Southwest...

medium: ink on hand-cut mylar Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with aut...

medium: ink drawing and thread on hand-cut mylar Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing sim...

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 ...

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 ...

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 ...

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 ...

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 ...

Take It Or leave It is a life size sculpture constructed of mylar over an aluminum frame. Sculptor William King is widely renowned for his signature flattened and stilt-legged figu...

A diptych painting by Charles Fine. "Fieldmarks (0168)" is a set of two, abstract, oil, ink, asphatum on mylar on linen on paper paintings executed in a palette primarily of greens, ...

This is a drawing in blue color pencil on Mylar by Zachari Logan, depicting a bouquet of feathers. Bouquet (Avian), from Enigmas c. 2023 Accompanied by a certificate of authenticit...

This contemporary drawing of a hand reaching for a pomegranate in a tree by Zachari Logan is made with colored pencil on Mylar.

This is a drawing and self portrait by Zachari Logan in blue colored pencil on Mylar of the artist nude and submerged in a body of water. This is a drawing made with blue colored pencil on Mylar of a nude man with long dark hair in water up to his thighs surrounded by branches. Water No. 2, After Tom 2022 Accompanied by certificate of authenticity signed by the artist Colored pencil on Mylar 7.5 x 5.25 inches “This drawing is a tribute to Tom of Finland, whose work has long-influenced my own in relation to drawing, the construction of space, and self-portraiture. In Finland’s compositions, images of men in the landscape—logging, foresting, and relaxing (together, naked, clothed, alone, in pairs and in groups) had a profound effect on my own thinking about the queer body represented. I see no separation between land and body—we are nature. The queer body is not unnatural (that is a false dichotomy, often espoused by religious and conservative world views). Finland’s renderings of bodies in nature are for me a rupture of the largely European tradition of only representing male nudity...

Edition of 9 Eric Fischl’s extraordinary achievements throughout his career have made him one of the most influential figurative painters of the late 20th and early 21st centuries. ...

Zachari Logan “Bones, Stems, Petals, Leaves (Pool Series)” 2022 Accompanied by a certificate of authenticity Blue pencil on mylar 60 x 24 inches Con...

Zachari Logan “Limb No. 1, Ghost Meadow” 2022 Accompanied by a certificate of authenticity Blue pencil on mylar 9 x 7.5 inches (22.9 x 19.1 cm) Cont...

Torso No. 2, Cranach (from the “Imaginary Europeans” Series) 2017 Blue pencil on Mylar 12 x 10 inches (30.5 x 25.4 cm) Contact gallery for price. This work is offered by CLAMP in...

Foot No. 1 (from the “Wildflower” Series) 2017 Blue pencil on Mylar 6.5 x 6 inches (16.5 x 15.2 cm) This work is offered by CLAMP in New York City.