Art by Medium: Mylar

Layers of foliage in shades of bright teal blue, dark navy cobalt and a faint pale bluish gray grace dark teal blue branches on the pristine white background of this painting in acry...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

In this contemporary landscape in sumi ink on Mylar, a peaceful forest scene at wintertime is intricately detailed, beautifully capturing the serenity of a walk in the snow covered w...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

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...

'Feeling of Being', oil on paper mounted on panel features a chair for two. The painting is part of Zolotnitsky's 'Extinct Series' that focuses on abandoned chairs. The artwork is 35...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Steven Baris Stations of Attention D7, 2024 oil on Mylar 24 x 21 in. (bari096) Artist Statement I characterize my work as diagrammatic, a far more apt term than the nearly meaningl...

The face of a young woman is featured in this oil painting on mylar, mounted on panel that is 12 x 12 inches. Professionally framed in burnished gold leaf over wood with an outer dim...

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...

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...

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...

Mixed Media on Paper Inked Mylar scorched and fused On white BFK Rives Printmaking Paper w/ Pencil and Metal Leaf Edition : Unique

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...

In Drainfields, David Becker creates a haunting rural landscape populated by fragmented scenes of human vulnerability, labor, intimacy, and decay. Executed in finely rendered graphit...

In this contemporary botanical painting in acrylic on Mylar mounted on acrylic panel, layers of foliage in shades of teal blue green, pale periwinkle blue gray dark indigo and hints ...

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...

Layers of foliage in vibrant shades of deep purple grace dark brown branches on the pristine white background of this horizontal painting in acrylic on Mylar mounted on acrylic panel...

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...

[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 ...

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...

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...

Layers of foliage in vibrant, eye-catching shades of reddish orange with shadows of deep burgundy grace light pink branches on the pristine white background of this contemporary bota...

Layers of foliage in shades of vibrant violet purple grace turquoise teal and dark brown branches on the pristine white background of this painting in acrylic on Mylar mounted on acr...

Dark indigo blue oak leaf foliage with hints of deep burgundy graces delicate branches on the pristine white background of this contemporary painting in acrylic on Mylar mounted on a...

Tree branches in dramatic hues of dark blue are striking against the pristine white background of this contemporary painting in acrylic on Mylar. This painting on Mylar requires mou...

Gingko leaves in deep hues of brown, dark purple and blue on delicate golden brown branches are striking against the pristine white background of this contemporary painting in acryli...

Layers of foliage in shades of bright blue, dark cobalt and teal grace violet blue branches on the pristine white background of this contemporary botanical painting in acrylic on Myl...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

Gingko leaves in deep hues of purple and lavender on delicate brown branches with hints of teal are striking against the pristine white background of this contemporary vertical paint...

Layers of foliage on a gingko tree with coral reddish orange leaves grace dark indigo branches on the pristine white background of this contemporary botanical painting on Mylar mount...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

Layers of foliage in violet and pale powder blue grace dark golden brown branches on the pristine white background of this contemporary painting in acrylic on Mylar. Battenfield's w...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

In this contemporary landscape in sumi ink on Mylar, a peaceful forest scene reflected on a stream is intricately detailed, beautifully capturing the serenity of a walk in the woods....

In this contemporary landscape in sumi ink on Mylar, trees in a peaceful forest scene are intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink d...

In this contemporary landscape in sumi ink on Mylar, trees in a peaceful forest scene are intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink d...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

In this contemporary botanical painting in acrylic on Mylar, layers of foliage in shades of blue from pale sky blue and periwinkle to dark navy cobalt grace the dark hunter green and...

In this contemporary landscape in sumi ink on Mylar, a peaceful forest scene reflected on a lake is intricately detailed, beautifully capturing the serenity of a walk in the woods. ...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

In this contemporary botanical painting in acrylic on Mylar, layers of foliage grace delicate branches in shades of deep violet on the pristine white background. This painting is mo...

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...

Layers of blossoming foliage in shades of violet grace teal and dark brown branches on the pristine white background of this contemporary botanical painting in acrylic on Mylar mount...

Gretchen Bender Thou Shalt Not Take the Name of God in Vain (The Third Commandment), 1987 2 Color Lithograph and embossment on reflective mylar Signed and numbered 37 from the limite...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

Jennifer Losch Bartlett Air: 24 Hours, 1994 Hardback monograph (book) bound in the publisher's original pink satin cloth with the covers and spine stamped in black. In publisher's original acetate dust jacket. Hand signed and inscribed by the artist on the half title page to Nadine (Witkin) 11 × 9 1/4 × 1 inches Unframed Hand signed and inscribed to Nadine on the title page Hardback monograph bound in the publisher's original pink satin cloth with the covers and spine stamped in black. In publisher's original acetate dust jacket. Publisher's Blurb: In Air: 24 Hours, Jennifer Bartlett creates her most personal paintings, all made between 1991 and 1992. Here, in each work, the unflinching presence of time is carefully, conspicuously monitored by a clock - light gray for day, dark gray for night. But motifs, color combinations, even certain images variously recur throughout the 24 paintings, shaking us up, causing us to realize that even the most seemingly casual, intimate scenes (a child's bedroom, a bathroom, the garden fish...

Steven Baris Stations of Attention D12, 2025 oil on Mylar 24 x 21 in. (bari100) Artist Statement I characterize my work as diagrammatic, a far more apt term than the nearly meaning...

Steven Baris Turtles All the Way Down D1, 2024 oil on Mylar 24 x 21 in. (bari097) Artist Statement I characterize my work as diagrammatic, a far more apt term than the nearly meanin...

Elena Zolotnitsky is a Russian American painter whose work explores beauty, adolescence, and the passage of time. Her paintings emphasize the tactile physicality of paint, creating s...

Anonymous Self Portrait XXXVII 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 Th...

This work is offered by ClampArt in New York City.

Anonymous Self Portrait Collage 4 2019 Signed and dated on label, verso Ink, graphite, acrylic, and Mylar on 300 lb. hot-pressed watercolor paper mo...

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...

Signed and dated on label, verso Graphite and oil paint on double-sided frosted Mylar film This work is offered by ClampArt in New York City.

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...