Art by Medium: Mylar

* 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...

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...

Big Melt #16 (Abstract drawing) Pigment pencil and water on mylar - Unframed. This work is from a series titled Big Melt. It has been created with pigment pencils and ice. It captu...

Small Maelstrom (Ref 854) (Abstract drawing) Pigment pencil on Mylar. Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the cente...

Big Melt #16 (Abstract drawing) Pigment pencil and water on mylar - Unframed. This work is from a series titled Big Melt. It has been created with pigment pencils and ice. It captu...

Storm series (ref. 845) (Abstract drawing) Pigment pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and Sandy, t...

Maelstrom Series 68 (Abstract drawing) Pigment pencil on Mylar. Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the center on a...

Pigment pencil and water on mylar - Unframed. This work is from a series titled Big Melt. It has been created with pigment pencils and ice. It captures the moment when solid is turn...

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...

Tipping Point #7 (Abstract drawing) Pigment pencil on Mylar - Unframed. This work is from a series titled Tipping Point. This drawing has been created eyes closed. It captures an a...

Tipping Point #5 (Abstract drawing) Pigment pencil on Mylar - Unframed. This work is from a series titled Tipping Point. This drawing has been created eyes closed. It captures an a...

Small maelstrom (Ref 855) (Abstract drawing) Pigment pencil on Mylar - Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the cent...

Storm Series (Ref 844) (Abstract drawing) Pigment pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and Sandy, th...

Storm series (ref. 845) (Abstract drawing) Pigment pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and Sandy, t...

Maelstrom Series 77 (Abstract drawing) Pigment pencil on Mylar - Unframed The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the center on 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...

Pigment pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and Sandy, this artwork was made by tightly clasping a s...

Graphite and color pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and Sandy, this artwork was made by tightly c...

Pigment pencil on Mylar - Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the center on a tilted table, she extends her fingers ...

Gudrun Mertes-Frady Music of Chance #112, 2016 water-based and metallic media on Mylar 19 x 24 in. This original abstract mixed media painting on Mylar by Gudrun Mertes Frady featur...

Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....

Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....

Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....

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...

Large expressionist nature inspired landscape by Alex K. Mason, "Fleeting" is an acrylic painting on mylar unframed using pinks, greens, blues, and yellows. Painted in 2024, the wor...

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 (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...

Roots of Matter provides a portal exploring a unique biological relationship between man and nature. Through similar network dynamics in the brain and the root systems of mycelium (...

Love Affair 6 (Abstract drawing) Colour pencil on two layers of Mylar — Unframed. Love Affairs" is a series of drawings on two layers of thin, translucent paper resembling ice. Each...

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. Hematite is a mineral and is the most important component of iron. In nature, it has a beau...

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...

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...

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 (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...

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...

Roots of Matter provides a portal exploring a unique biological relationship between man and nature. Through similar network dynamics in the brain and the root systems of mycelium (...

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....

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 ...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

Worry, Original Contemporary Abstract Painting, 2020 11" x 8.5" (HxW) Alcohol Ink on Yupo Paper This is a powerful and emotive work by artist KC Pollak. Though an abstraction, the m...

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...

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...

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...

[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 ...

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 ...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observ...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

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...

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...

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.

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...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by wide-ranging research into cosmology, history, philosophy, and by connecting common threads that flow across various scientific fields to capture and re-imagine what the scientists see. Kamen has exhibited and lectured both nationally and internationally. As catalysts for her artwork, she has investigated scientific rare books and manuscripts at the libraries of the American Philosophical Society, the Science History Museum, and the Cajal Institute in Madrid. She has also worked on collaborative projects at the Center for Astrophysics at Harvard University, the Kavli Institute at Massachusetts Institute of Technology, and Rochester Institute of Technology. While artist in residence in the neuroscience program at National Institutes of Health, Kamen interpreted and transformed neuroscience research into sculptural form. Her work has recently been exhibited in the Creative Resilience: Art by Women...