Art by Medium: Mylar

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...

Sublime yellow roses in a water filled vase, from Elena Zolotnitsky who is Inspired by the concepts of beauty, adolescence, and time passing, Zolotnotsky’s personal and intimate oi...

[Tucson, AZ ::: b. 1987, Atlanta, GA] LAURA TANNER GRAHAM's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes ...

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 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...

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...

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...

Artwork dimensions (without frame): 60h x 40w inches During World War II an the Vietnam War, women were encouraged to volunteer to travel to war zones through the Red Cross. They w...

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...

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...

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. 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...

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...

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 ...

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...

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

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...

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 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 and Eudora Welty...

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...

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...

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...

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...

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 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...

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 ...

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...

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 ...

This is an artwork by Zachari Logan. Hive No. 5, Dandelion (from “Wildman Series”) 2023 Accompanied by a certificate of authenticity Blue pencil on Mylar 12 x 9 inches Contact g...

Rebecca Alston is a New York-based interdisciplinary artist and architectural designer. She is known for her rigorous exploration of color and form, meticulous use of line, and the integration of scientific principles within the visual arts. Her strong foundation has led to the investigation and innovative approaches to experimental mixed media work on paper, canvas, reliefs, and space. Her most recent work explores the tension between environmental, social, and political issues. Alston pursued post-graduate programs for several years at New York University and the professional program at Harvard University GSD. She obtained her BFA from Auburn University and an M.A. in Architecture from Kansas State University, where she was also an Assistant Professor in Environmental Design and Color Theory and Perception. She also maintains a studio on the Gulf Coast and has lived in London and traveled extensively in Asia. She has exhibited widely in Holland, Japan, and England as well as in Mississippi, Chicago, Kansas City, Washington D.C., and New York City. Alston’s work is in the Permanent Collection of The National Museum of Women in the Arts, The MADI Museum of Art, The Jule Collins Smith Museum of Art, and The Mississippi Museum of Art. She was awarded the Bronze Award by the Japanese Government for the Urban Art Plaza she designed in Osaka. ​ Alston's current bodies of art...

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.

Hand No. 1 (from the “Wildflower” Series) 2017 Blue pencil on Mylar 6 x 6.25 inches (15.2 x 15.9 cm) This work is offered by CLAMP in New York City.

Torso No. 3 (from the “Imaginary Europeans” Series) 2017 Blue pencil on Mylar 8 x 6.5 inches (20.3 x 16.5 cm) This work is offered by CLAMP in New York City.

Torso No. 1 (from the “Imaginary Europeans” Series) 2017 Blue pencil on Mylar 28 x 25 inches (71.1 x 63.5 cm) This work is offered by CLAMP in New York City.

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. ...