Art by Medium: Tissue Paper

This diptych, Markings, with a leather-like finish of cold wax and layers of marked tissue paper on wood, reads as an ancient surface immersed in the markings of time. Fragments of m...

Penny Sign Of The Times (Gold) 15/15 Hand-Cut Stencil and Spray Paint on Genuine Banknote 3 x 6 in Gold leaf

16 layer hand cut stencil, spray paint on genuine 10 Pound banknote, C-Type semi gloss printed detail, signed and dated edition of 10 2 7/8 x 5 3/4 in 7.2 x 14.5 cm Edition of 10 plu...

Untitled (Seascape at night) Tissue paper collage on Fabriano wove paper, 1964 Signed in ink lower left Annotated 42 in pencil on verso Condition: Excellent Image/Sheet size: 10 x 13 7/8 inches Part of a suite of collages created during the artist's sabatical leave from teaching, spent in Florence, Italy, studying at the Accademia D'Arte Firenze in 1963-1964. Ray H. French: The Evolution of an Artistic Innovator Printmaker, painter, and sculptor Ray H. French was born in Terre Haute, Indiana on May 16, 1919. Terre Haute was a cultural wasteland before the opening of the Sheldon Swope Art Museum in 1942. Thus, with a father as a coal miner and carpenter, art remained a luxury for Ray. Nevertheless, local art teachers Mabel Mikel Williams and Nola E. Williams helped to foster his creativity and unshakable drive to create things of beauty. After high school, Ray attended the John Herron School of Art in Indianapolis. His studies there were interrupted by the outbreak of World War II, during which he developed surveillance photographs for the Army Air Force. After the war, Ray transferred to the University of Iowa on the G.I. Bill, where he received both his BFA and MFA degrees. The University of Iowa during the 1940s was a cultural mecca with many major art historians and artists. While in Iowa, Ray played an important role in this culture by becoming a founding member of the Iowa Print Group under Mauricio Lasansky. Following his graduation in 1948, Ray experienced firsthand the rapid rise in creative printmaking in America. By 1949, he had exhibited at The Brooklyn Museum, the Walker Art Center, and MOMA New York. Ray’s early style of printmaking is characterized by pure line engraving on copper plates, a technique suited perfectly to his study of the beauty of animals. This charming and whimsical subject ran counter to the concurrent trends of Lasansky’s horrors of war and Hayter’s non-objectivity, but was equally effective in capturing the public’s attention. Walruses was purchased by the Victoria and Albert Museum, exhibited at MOMA New York and received the Arthur D. Allen Memorial Purchase Prize for its “skillful and economic use of line.” Shortly thereafter, Ray’s treatment of animals developed further into larger format mixed intaglio prints utilizing hard ground, soft ground, etching, and engraving, as exemplified in The Swan. By the late 1950s, Ray’s style evolved into organic non-objectivity, in which he incorporated personal autobiographical vignettes and symbolism. His work during this time was further characterized by a departure from the traditional squared compositional format to his cutting and rounding of the plate to accentuate organic shapes. Ray’s 1959 Enchantment remains particularly illustrative of his use of etching and soft ground intaglio. Enchantment was successfully exhibited at the Brooklyn Museum of Art for the 12th National Print Exhibition of The American Federation of the Arts and received the Pennell Purchase Prize from the Library of Congress in 1960. In the 1960s, Ray also started to focus on blind embossing, which he had first experimented with at the University of Iowa. He was extremely prolific and successful with this medium, selling hundreds of prints in small editions of 10 through the Associated American Artist Gallery in New York. In 1966, Ray built upon his mastery of embossing and began developing a shadow box presentation called a graphic construction that combined color, blind embossing, and multi-layered cutouts to revel intaglio compositions. Noted curator William Lieberman purchased Ray’s masterpiece graphic construction, Moon Rays...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing and conveying its contents, with particular involvement of methodologies from geography, anthropology, sociology to cultural studies. Her works have been in the past approached to the works of Anselm Kiefer (b. 1945) and Giovanni Battista Piranesi (1720-1770), but in Gullotta's paintings the absence of color makes the spaces particularly ethereal, allowing them to be ideally lifted to new places and to new life. We often speak of a "brain drain," but in this case we are truly happy to be able to say that this is a "return," and an important one: an artist of international caliber who has decided to entrust her return to her homeland to Almach Art...

In Instruments Waiting, acrylic paint, gold, and rust, handmade paper with tissue paper conjure a sense of something found in an ancient site, yet to be identified. These instruments...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

Untitled (ID 1293) (Abstract painting) Tissue paper on paper. Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies ...

Tissue paper on paper. Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets intuiti...

David Wightman (b. 1980, Stockport, Greater Manchester, UK) is a British painter and printmaker based in London, UK. He creates beautiful paintings and prints of fictional landscapes. The surfaces of his paintings are made from textured wallpaper collaged with a technique similar to marquetry. Colour and composition are the key aspects of his work. He studied Fine Art at Middlesex University (2001) and gained an MA in Painting from the Royal College of Art, London (2003). David Wightman’s solo exhibitions include My Atalanta, Long & Ryle, London (2020), In Arcadia, DuranMashaal Gallery, Montréal (2018), A Devotion, Someth1ng Gallery, London (2018), EMPIRE, Long & Ryle, London (2016), New paintings + Akris collaboration, Akris, 30 Old Bond Street, London (2014), Redux, 10 Gresham Street and Halcyon Gallery (2014), Hero, commission for House Arts Festival (2013), Paramour, Halcyon Gallery, London (2012), Homage to Loreleia, Berwick Gymnasium Gallery, Berwick-upon-Tweed, Northumberland (2011), Secret Name, Sumarria Lunn, London (2010), Behemoth, Cornerhouse, Manchester (2009), and Aspirations, William Angel Gallery, London (2008). In 2010, David Wightman was awarded the Berwick Gymnasium Arts Fellowship – a sixmonth residency in Berwick-upon-Tweed, Northumberland, funded by Arts Council England and English Heritage. In 2013, he was selected by the curator of House Arts Festival, Mariele Neudecker...

Tissue paper on paper. Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets intuiti...

Daniela Gullotta - "Interior with Venus" (2024) A profound meditation on classical beauty within domestic ruins, this extraordinary work by Daniela Gullotta juxtaposes the eternal g...

The original image, Fox on Gold, confirms how the trickster fox appears throughout my work for decades. In the spirit of haiku mind, I carried this image with curiosity for weeks, as...

Working from the concept of Haiku Mind had a surprising impact on how this work was conceived. The ancient poetic form of Japanese haiku is traditionally a tool for acute observation...

Magnolia, No. 10, by artist Jeri Eisenberg is a soft pink, and green contemporary triptych made of Archival pigment ink on Japanese Kozo with encaustic medium, that measures 36 x 34 and is priced at $3,150. Magnolia, No. 10 Edition: 4/12, 2010 *Price differs with top bars only $3000* Jeri Eisenberg works primarily with non-traditional and alternative photo-based techniques. She represses or subverts traditional photography’s emphasis on the representational qualities of the medium, and emphasizes instead the medium’s expressive nature. She employs a strong sense of materiality and seductive surfaces in her work, to evoke sense memories and visceral connections. Her work steadfastly serves as an affirmation of beauty in the everyday natural world, but is tinged with the bittersweet - a reminder of the temporal condition, and an elegy for life. EDUCATION MFA, Art Institute of Boston, Lesley University, Cambridge, MA JD, Boston University, Boston, MA BA, Kirkland College, Clinton, NY SELECTED SOLO EXHIBITIONS 2014 Cumberland Gallery, Nashville, TN 2013 Foster/White Gallery, Seattle, WA 2012 Wallspace Gallery, Santa Barbara, CA Putnam Gallery, The Dublin School, Dublin, NH 2011 Kathryn Markel Fine Arts, New York, NY John Cleary Gallery, Houston, TX Griffin Museum, Winchester, MA 2009 Corden Potts Gallery, San Francisco, CA John Cleary Gallery, Houston, TX Lanoue Fine Art, Boston, MA 2008 Galerie BMG, Woodstock, NY 2007 Gallery Saintonge, Missoula, Montana MT Exposed Gallery of Art Photography, Delmar, NY 2006 Julie Kinzelman Art, Houston, TX 2005 Galerie BMG, Woodstock, NY Carrie Haddad Gallery, Hudson, NY 2004 Lapham Gallery, Glens Falls, NY Siena College, Loudonville, NY 2003 Fulton Street Gallery, Troy, NY Adirondack Lakes Art Center, Blue Mountain Lake, NY 2001 Perella Gallery, Fulton-Montgomery Community College, Johnstown, NY Greene County Council on the Arts, Catskill, NY Carrie Haddad Gallery, Hudson, NY Northwest Nazarene University, Nampa, ID 2000 University of La Vern, La Vern, CA 1999 Spencertown Academy, Spencertown, NY Fulton Street Gallery, Troy, NY Carrie Haddad Gallery, Hudson, NY 1998 LRC Gallery, Hudson Valley Community College, Troy, NY 1996 Shelnutt Gallery, RPI, Troy, NY SELECTED GROUP EXHIBITIONS 2013 Multiple Focus: Contemporary Photography from the Collection, Albany Institute of History and Art, Albany, NY Summer Portfolio, Corden Potts Gallery, San Francisco, CA A Few of My Favorite Things, Lanoue Fine Art, Boston, MA Rejuvenation, Furchgott Sourdiffe Gallery, Shelburn, VT Have a Nice Day, Gilman Contemporary, Ketchum, ID Soft Focus, Carrie Haddad Gallery, Hudson, NY 2013 Wax is Hot, Amy Simon Gallery, Westport, CT 2012 Corden Potts Gallery, San Francisco, CA Snail Mail, Museum of Fine Arts, Houston, TX Small Packages, Cumberland Gallery, Nashville, TN Encaustic Works 2012 Invitational, R&F Gallery, Kingston NY Photograph: New Work, Carrie Haddad Gallery, Hudson, NY Deck the Walls, Catherine Couturier Gallery, Houston, TX 2011 Fotografias – Colecao Joaquim Paiva, Museu de Arte Moderna do Rio de Janeiro, Brazil Women...

For Love Nor Money - 3 Layer Hand-Cut Stencil Painted on 24k Gold Banknote

After living and working in the various disciplines of Japanese culture from long-bow archery to tea ceremony Majio began to cultivate a different relationship to things. No longer p...

Figurative I, acrylic paintings on canvas, have an archetypal quality, which initiates transmission through the character. They come from different cultures, times, and moments of ma...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

Cross-Roads has a highly textured surface on canvas with rusted metal and handmade paper. It echoes the adage that one should not confuse the world with our perception of it, or the ...

These works reflect the animism of Japanese culture and Zen training. Living in temples and the countryside with craftsman communities in Japan for over a decade, Majio was deeply in...

These works reflect the animism of Japanese culture and Zen training. Living in temples and the countryside with craftsman communities in Japan for over a decade, Majio was deeply in...

Emma delicately cuts images, especially trees, from a medium like felt or paper and pins them minutely to their chosen background, raised ethereally from the surface, forming beautif...

Stone Lantern in Tyme II, cold wax, monoprints, oil stick on canvas, 2024. The symbols inherent in the gorintō, the stone lantern, are: the cube (Earth) representing stability, groun...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

Diptych Ribs of Tyme, Cold wax, monoprints, oil stick on canvas, 2024. Ribs infer a biological or even geological structure. In this study, we are taking time out of the world of co...

Diptych Tyme Before Time, Cold wax, monoprints, oil stick on canvas, 2024. There have always been intervals of movement in space. The marking of sun and seasonal cycles has been pres...

Tyme of Revolution, cold wax, monoprints, transfer, oil stick on canvas, 2024. Within history, culture binds values and meaning to time through symbols. These images of flags and gas...

Revolution in Tyme, Cold wax, monoprints, transfer, oil stick on canvas, 2024. Revolution can be an orbit or gyration, an uprising or insurrection. All require movement in space/time...

Tyme Generator, Cold wax, monoprints, oil stick on canvas, 2024. Materialistic societies connect time to productivity. In another layer of reality, we are free to creatively generate...

Dancing with Tyme, Cold wax, monoprints, oil stick on canvas, 2024. Embodied in the multiple aspects of movement, we dance to tyme, through tyme, and in tyme People who believe in ...

Playing with Tyme, Cold wax, monoprints, oil stick on canvas, 2024. Until we impose time structure on children, they have a deep connection to the present moment. Their play is an ea...

Fox with Bees 2025 Acrylic paint, cold wax, monoprints, oil stick on canvas. The first layer of this reality is a sweet red-haired woman. In the next layer, she looks out from a two-...

Polymer Paint on Tissue Paper on Canvas

Created in 1952, this Engraving, paper, cut paper, tissue paper and graphite on paper mounted on paperboard is hand-signed by Robert Rauschenberg (Port Arthur, 1925 - Captiva, 2008) in pencil in the lower left margin. Numbered from the edition of 65 in pencil in the lower left margin. About the Framing: Framed to museum-grade, conservation standards, Robert Rauschenberg Untitled (Christian Symbol) from the North African Collage...