Art by Medium: Mylar

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...

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...

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...

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...

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...

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 Justin Shanitkvich, 2022 charcoal on mylar 53h x 40w in 134.62h x 101.60w cm MBG009 [This work is custom framed in shadow box style with non-reflective Tru-Vue Museum Glass] FRAMED DIMENSIONS 55.25h x 42.50w x 2.25d in 140.34h x 107.95w x 5.71d cm 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...

* 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...

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....

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....

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....

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

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...

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...

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...

gouache & graphite on mylar

graphite on mylar

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...

[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 ...

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 25.5 x 20 in. Ink and Mylar mounted on acid free foam core Unframed Fram...

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...

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...

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...

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...

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...

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...

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, ...

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...

Maelstrom Series 67 (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 ...

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...

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...

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...

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...

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...

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...

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...

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...

Maelstrom Series 67 (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 ...

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 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...