Art by Medium: Mylar

Steve Baris is interested in the interconnections of the built environment and spatial experience. His artwork is a response to a largely overlooked type of landscape that is emerg...

Steve Baris is interested in the interconnections of the built environment and spatial experience. His artwork is a response to a largely overlooked type of landscape that is emerg...

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...

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...

Mary Schiliro's work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring new possibilities of presentation. She uses a dipping process w...

Mary Schiliro's work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring new possibilities of presentation. She uses a dipping process w...

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...

Mary Schiliro's work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring new possibilities of presentation. She uses a dipping process w...

graphite on mylar

gouache & graphite on mylar

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...

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 ...

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...

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...

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...

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...

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...

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...

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...

Abstract geometric black and white ink drawing on mylar framed in white wood frame with UV Plexiglass. For over twenty years now Patrick Carrara has lived in Brooklyn, where he has m...

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...

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...

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...

A contemporary piece by New York based artist Kayo Shido.

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...

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...

Storm Horizontal 82 (Abstract drawing) Graphite and color pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and S...

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...

Big Melt #10 (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...

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...

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...

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...

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...

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...

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...

Big Melt #10 (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...

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 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...

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 ...

Pigment pencil on Mylar - Unframed. This work is from a series titled Tipping Point. This drawing has been created eyes closed. It captures an accumulation of marks made by the arti...

mixed media on mylar Among the best selling works by Audrey Frank Anastasi are the birch trees, "process-oriented works, drawn and painted in various media. According to Ms. Anast...

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...

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 t...

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 t...

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, ...

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...

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...