Oversized Mixed Media

Jamie, 2017 by Hunter & Gatti From the series of IWMYAS Wax, acrylic oil pastel on glicée print archival metallic paper. Image size: 107 cm H x 83 cm W Signed front and signed back w...

Give your garden a touch of industrial elegance with our steel wall in a 3-part design with a rusty surface! Each part of the wall is made of high-quality steel and has been careful...

Untitled, 2016 by Ana Seggiaro From the series "Durero" Embroidery on printed cloth 110 cm H x 110 cm W Mounted on a stretcher Ana Seggiaro's training as an engraver awakens her fas...

That Curtain Something, 2014 Mixed technique: oil on canvas (Signed on reverse) 47.24 H x 39.37 W in 120 H x 100 W cm MASCH's work describes a discursive rebellion of continuous civ...

"Infinitely" is a unique collage on panel, created entirely from hand-torn vintage print materials. The coloration in the work is hand dyed to optimal archival specifications. The ar...

His & Hers, by Roberto Fonfría Acrylic, graphite, oil pastel, transfers on wood Image size: 47.6 in. H x 48 in. W Frame size: 48.6 in. H x 49 in. W x 1 in. D Mixed Media ___________...

"Far From Home" by Michael Adetula is a poignant artwork that eloquently captures the essence of the human pursuit for a better life and the bittersweet experience of being far away ...

August, 2016 Mixed technique: acrylic on cardboard, wooden box 40.55 H x 50.78 W x 11.81 D in 103 H x 129 W x 30 D cm Signed The object-collage by the artist Alexandru Radvan tit...

Meridian, 2016 Mixed technique: acrylic on cardboard, wooden box 35.43 H x 48.03 W x 11.61 D in 90 H x 122 W x 29.5 D cm The object collage from 2016 is almost an installation due ...

"High Desert Composition" is a welded steel wall sculpture where the lines between two- and three-dimensional art are blurred. The viewer has a variety of experiences from multiple vantage points where volumes and angles disconnect and reconnect as one moves around the piece. The hand welded steel is painted with acrylic paint in a kaleidoscope of color tones. Chris Hill High Desert Composition welded steel, acrylic paint 80h x 48w x 7d in 203.20h x 121.92w x 17.78d cm CHI024 Chris Hill is a Santa Fe based sculptor. Chris was born in Port Arthur, Texas but grew up in small town North Mississippi. He began welding at age 18 at the Tennessee Valley Authority...

Debra Smith Holding Light, Large #2, 2022 pieced vintage silk 48.4 x 72 in. (smi129) This original artwork by Debra Smith consists of black and cream-colored pieces of cut vintage ...

Vibrant and arresting "Her Dreaming" is a wonderful modern abstract expressionist lithograph print by unknown artist. Signed illegibly lower right. Numbered "36/345". Image size, 20"...

Triptych Barcos Violeta, by Sergio Bazan Mix media on Canvas Image Size: 50 H x 150 W cm Unframed Signed by artist _______ Sergio Bazan was born in Buenos Aires in 1962. He was ar...

"To Whom It Is Deserved," an evocative artwork by Eyitayo Alagbe, depicts a powerful narrative of recognition and support. In this piece, two young men take center stage, with one we...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Love Garden Party (Pussy Galore) is an original mixed-medium painting on Strathmore watercolor paper stock. The materials used are high quality acrylic paints, opaque, metallic, and neon inks, hand-cut collage, sourced from fashion magazines and Japanese cookbooks...

Love Between Horses Couple Painting One of a kind Mixed Medium on Canvas Artwork: Original abstract mixed media work on canvas, which combines new media - digital original hand pain...

Steven H. Rehfeld's 24" x 48" diptych, "Coastal," captivates viewers with its masterful dance of colors and shapes. Each panel exudes an abstract, yet harmonious representation of na...

Acrylic paints, oil paints, and gold leaf My paintings explore the relationship between elements such as the skies, the oceans, the natural environment such as the formation of rocks, cliffs, and weathered material. In my work, I aim to bring together certain properties of each of these elements to create an experience and understanding of the world and the contrasting relationships between each of these ideas. The use of texture in my work is formed using material which has been subjected to the forces of the weather, and I love to use ‘untouched’ and ‘natural’ material in my work to form the basis of all my paintings. It is the idea of bringing together a number of natural materials in my work that inspires me. The contrast between elements such as the roughness of the texture, the smoothness of the ink or paint. and the reflection of the metallics brings about a composition and structure that is unique. The impact of the weather, space, and seasons has been important in determining the structure of each of the paintings and the way the different elements and materials react to one another. The use of ink in my work has been a work in progress that I have been experimenting with over the past year. The use of this new medium has proved to be invaluable to the message and direction that I would like my work to take. On each of the works, I manipulate the Ink using air from my mouth as I want to form a stronger relationship with the canvas and the way that the ink Is manipulated. I have particularly enjoyed the added contrast which has been created between the variety of mediums being used. Textured mixed media original abstract painting by Rajan Seth.

LOREN MUNK (american b. 1951) MUNKEY BUSINESS Signed and dated 'Munk 84' verso, mixed media construction with paint brushes, mirrored mosaic tile, gold leaf and oil paint 57 x 33 x 23 in. (144.8 x 83.8 x 58.4cm) Provenance: Malcolm Forbes collection The artist Loren Munk (born 1951) is primarily known for his YouTube nickname James Kalm as an uploader of videos about New York exhibitions, amongst others. He presents himself as a maker of contemporary paintings for several decades and of cubist paintings of urban imagery. Munk has received accolades for his drawings and mosaics. He differs from traditional mosaic artists by the manner in which he incorporates glass into his decorative paintings. His unique and innovative use of materials such as mirror, gold-leaf and glass mosaic affirmed him as a founding force of Kitsch Art and a leading member of New York Neo-Expressionism. Munk's work debuted in SoHo in 1981 with a double show at J. Fields Gallery and Gabrielle Bryers. Since then, he has overseen an international career. In addition to exhibiting in Brazil, France, Germany and the United States, Munk has received national and overseas, public and private commissions. He is well represented in important collections throughout Europe, South and North America and the Middle East. Most recently, Munk has been producing a series of paintings which tackle the subject of art itself through a historical and diagrammatic lens. Munk documents the New York art world in YouTube videos, using the name James Kalm. Timeline: 1979 Attended Art Students League, New York 1973-75 Attended University of Maryland at Ramstein, Germany while in US Army 1969-72 Attended Idaho State University, Pocatello, Idaho 1951 Born, Salt Lake City, Utah Select Group Exhibitions 2018 “Under Erasure” curated by Heather and Raphael Rubinstein at Pierogi Gallery New York 2016 "It Was Never Linear: Recent Painting" at the Sheldon Museum of Art Lincoln Neb. with: Robert Bordo, Dawn Clements...

Inspired by amateur archaeologists such as Heinrich Schliemann who discovered Troy and by past elaborate hoaxes like that of the Piltdown Man, Joshua travels the world performing sta...

A textured, unique and vivid poured enamel painting on stretched canvas, with red, yellow, black and white colours. Ready to hang. Framing on request.

This is an original mixed media collage by Southern California artist, Kathleen Kane Murrell. It is unframed. The artist protects the canvas with a layer of plexiglass. Its dimension...

Symbol of Memories 1 is an original painting by Oladimeji Alabi. Oladimeji created the Symbol of Memories with Mixed Media on a 30W by 50H inches primed canvas. The symbol of Memories is inspired by the story of my childhood. The objects and signs we grew up with as a child in our homes become symbols of our memories today. Art has the ability to evoke strong emotions and convey meaningful messages. One such artwork that does just that is "Symbol of Memories," a stunning piece that uses the mother as a symbol of life and hope. This artwork is made even more significant by the use of damask fabric, which was popular among Nigerian women in the late 70s to 90s and used for making gele, the head ties worn by women. The artwork speaks volumes about the importance of mothers in society. The mother is dressed in a vibrant damask fabric, which adds a sense of richness and texture to the painting. The use of damask fabric in the painting is significant as it represents a part of Nigerian culture and history. Damask was a popular fashion among Nigerian women in the late 70s to 90s and was used to make gele, the head ties worn by women on special occasions. The fabric is often associated with elegance, sophistication, and beauty, which adds a layer of meaning to the artwork. The mother in the painting is the focal point of the artwork, symbolizing the importance of mothers in society. Mothers are the backbone of families, providing love, support, and guidance to their children. They are often the ones who hold families together through difficult times, serving as a symbol of hope and resilience. The use of the damask fabric in the painting also represents the concept of memories. The fabric has a rich history in Nigerian culture, and for many people, it is a symbol of their childhood and the memories they hold dear. The painting serves as a reminder of the importance of preserving memories, both good and bad, and how they shape our lives. Overall, "Symbol of Memories" is a beautiful piece of art that celebrates the role of mothers in society. The use of damask fabric adds a layer of meaning to the painting, representing the importance of preserving memories and the rich culture of Nigeria. The mother as a focused subject symbolizes life and hope, the fabric applied in this art is called damask, which was a popular fashion among Nigerian women around the late 70s to 90s used for making gele(the head ties). Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Oladimeji Alabi is an experimental contemporary visual artist based in Lagos. His works are based on social and environmental issues in modern Nigeria and the globe, while highlighting and archiving the social customs of his Yoruba ethnicity. Oladimeji's works are in paintings (acrylics, charcoal, spray cans, and LED), graffiti, illustrations, wood works, street art, and wearable art. Oladimeji studied Fine Art at the Yaba College of Technology in Lagos and has created works shown in exhibitions, auctions, and magazines in Nigeria and beyond. Dimeji's work has been featured in Vogue Germany, Royal Academy, BLK Arthouse Washington, Artist Movement 2020, Galleries of the Community College of Baltimore County, Nike Art...

Bethan Ash is a professional quilt maker and teacher with a background in Fashion design. She has exhibited widely and her work has been bought by museums in the UK and USA, includin...

Margaret Putnam (1913-1989) San Antonio Artist Image Size: 25.5 x 49 Frame Size: 28.5 x 52.5 Medium: Multimedia on Paper "St. Francis of Assisi" Margaret Putnam (1913-1989) Margaret ...

Like a moment of inspired creativity when the juices are flowing and everything starts coming together, this painting is on fire. The field of orange metamorphizes into hot salmon pi...

Give your garden a touch of industrial elegance with our steel wall in a 3-part design with a rusty surface! Each part of the wall is made of high-quality steel and has been careful...

Beautiful abstract expressionist collage by Bay Area artist Michael Pauker (American, b.1957). Composed of two sections of black and navy blue, this piece has layers of depth, both in the watercolor and the paper applique. Dark chine colle...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

The ambitious exercise of working with techniques such as large-format embroidery only exacerbates the perfection of detail through the change of scale. What was once the page of a b...

this is a bright vibrant abstract wall hanging tapestry by Calman Shemi. I believe the material is wool with a linen backing but i am not positive. it can also be used as a floor rug. Calman Shemi, sculptor and painter, was born in Argentina in 1939. A graduate of the School of Sculpture and Ceramics in Mendoza, he studied under the Italian-Argentinean sculptor Libero Badii whom he credits with putting him on the right path. “He taught me principals, not only related to sculpture, but human and philosophic principals. Shemi also carefully studied the work of such masters as Picasso, Caravaggio, Frank Stella and Matisse. “From each one of these great artists I learned something from observing them,” he says. In 1961, at the age of 20, Shemi immigrated to Israel and joined Kibbutz Carmia of which he was a member for twenty years. There he worked in agriculture and also as a sculptor working with wood and clay. Several of his large-scale fiberglass and polyester projects are situated in public buildings. He was a student of German-Israeli sculptor Rudi Lehmann, a pioneer of the artistic movement known as “Canaanism.” Canaanite art was an effort to create a direct relationship with the land, bypassing historic Jewish connotations—hence the land’s primordial name is used. Canaanite works, with an emphasis on the inter-action of simple shapes, bear a deliberate resemblance to the sculpture and ritual art of early civilizations of the Middle East prior to Judaism, always with an eye to the fusion of man and the land itself. Though sculpture dominated his early years as an artist, in the mid ’70s Shemi developed the idea of the “soft painting” medium. Beginning with a color drawing done to scale, Shemi layers onto the drawing irregularly shaped pieces of variously textured and colored fabrics. Using a threadless 9,000-needle sewing machine, the fabrics are meshed to one another and to the background, resulting in vibrant carpet...

Abstract Assemblage work with various torn and cut fabrics. The work was donated to the Assistance League of Houston in 2018. Work is signed by the artist on the back and dated. The ...

Tiger Painting 40 x 60” inches, Mixed Media: Digital, Watercolor, Acrylic, Gel Medium One-of-a-kind 2017 in Los Angeles One of a kind Mixed Medium o...

Untitled IV, 2022 by Salvatore Arnone From the Balance series Photography, acrylic and pastel on paper Image size: 50 in. H x 35 in. W Edition of 3 + 1AP Unframed With Balance the a...

Untitled II, 2022 by Salvatore Arnone From the Balance series Photography and ink on paper Image size: 50 in. H x 35 in. W Edition of 3 + 1AP Unframed With Balance the artist starts...

Omnipresent immerses the viewer in fields of soft blue and mango orange. These fields are divided and joined by a tonal grey undulating mass that takes one through the painting like ...

Painting Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Signed on the front side and accompanied by a Certificate of Authenticity.

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

With its rustic aesthetic, this privacy screen will not only protect your privacy, but also give your outdoor area a special charm. The rusty surface gives each element an individual...

Constellation Unesco (Maquette pour le Musée Unesco à Paris) Unesco-Sternbild (Modell für das Unesco-Museum in Paris) Provenienz -Collection Bernard Zehrfuss (cadeau de l'artiste en...

This depicts King David playing the harp, along with a verse in Hebrew from the Psalms. all made by hand. woven and stitched. Vintage, original piece. Kopel Gurwin (Hebrew: קופל גורבין‎) (1923–1990) was an Israeli tapestry wall hanging, painter and graphic artist. Kopel (Kopke') Gurwin (Gurwitz) was born and raised in Vilna, the capital of Lithuania. He spoke Yiddish at home, but simultaneously studied Hebrew at their school which was part of the Tarbut educational network. Kopel was active in the Hashomer Hatzair youth movement. In the 1930s, as a teenager, Kopel helped his parents with the home finances by working in a suit workshop, there he first encountered the art of sewing. With the outbreak of the Second World War and the German invasion of Vilna, the Jews were imprisoned in camps and ghettos. Kopel and his brother Moshe were separated from their parents and were put to work in coal mines and peat. Kopel's parents were taken to the Stutthof Nazi concentration camp where they died of typhus within a month of each other. Kopel's 12-year-old sister Chava was turned over to the Germans by a Polish family and murdered. The brothers were arrested by the Germans, but were saved thanks to the connections of Nina Gerstein, Kopel's drama teacher. They hid in an attic until they were discovered, fled and moved to Riga, where they were caught and sent to the Stutthof concentration camp where they were imprisoned until the end of the war. They were put to work maintaining and cleaning trains and took part in one of the death marches. In July 1946, Kopel and Moshe sailed to Helsingborg, Sweden, as part of operation "Folke Bernadotte", in which Sweden took in ill survivors for rehabilitation. Once he recovered, Kopel worked in a publishing house and later was appointed director of the local branch of the Halutz movement. In 1950 Kopel and Moshe made aliyah to Israel. Kopel worked as a survey for the Survey of Israel Company. In 1951, he enlisted to the Communication Corps and served as a military draftsman. There he won first prize for the design of the front cover of the Communication Corps bulletin. With his discharge from the army at 29 he started studying drawing and graphics at the Bezalel Academy of Arts and Design in Jerusalem. Among his teachers were Isidor Ascheim, Shlomo Vitkin, Yossi Stern and Jacob Steinhardt. At the end of his first year of study, Kopel won the Reuben and Sarah Lif Excellence Award in written studies. During his studies he also won additional prizes: In 1956 he won first prize from the Lethem Foundation in California for poster design. Later the same year, Kopel won the Hermann Struck prize for his drawing on the theme of Jerusalem. In 1957 he won an additional first prize from the Lethem Foundation and second place from the printing company Ortzel for a drawing for a Jewish New Year greeting card. In 1958 he won first prize in a competition to design a poster for Tel Aviv's jubilee. Two years later he won three other awards: First and third prize for designing a poster for Israel Independence Day, celebrating 12 years of the State of Israel. Also that year Kopel won first prize for a poster to mark the 25th Zionist Congress. In 1964 he entered the Independence Day poster competition on the theme of aliyah and won first and second prize. Four years later he again entered the competition on the theme of 20 years of Israel's independence and won first prize. The poster was styled like a Holy Ark curtain with two lions and a menorah at its centre. This poster appeared on the cover of the famous book Jewish Art and Civilization, edited by Geoffrey Wigoder as well as the record Voices of 20 Years, 1948-1968, edited by Yossi Godard. In April 1971 he won first prize in the Independence Day poster competition for the fourth time. Kopel's Folk Art tapestry won the Israeli Independence Day Poster Contest in 1968 With the completion of his studies at Bezalel Kopel moved to Tel Aviv and was hired by Shmuel Grundman's graphics and design studio. Grundman took him to Europe with him to design and supervise the construction of Israeli exhibition pavilions. During his time at Grundman's he discovered the fibrous felt from which he produced most of his wall hangings. At the 1964 Levant Fair exhibition he used felt stuck onto wooden panels for the first time. The first felt wall hanging that Kopel produced was intended for the American Cultural Centre in Jerusalem and its theme was the United States Declaration of Independence. The wall hanging, which measured 2.85 X 1.85 meters, was stuck on a wooden panel. Kopel ordered rolls of felt from France and began work on wall hangings based on bible stories. He used a needle, hand sewing small even stitches with black embroidery thread which framed and highlighted every detail in the work, as well as using appliqué. The interior designer, Alufa Koljer-Elem, introduced him to Ruth Dayan who managed the shop Maskit in September 1967 he opened his first solo exhibition at the Maskit 6 gallery, in which 12 wall hangings were displayed. In light of the exhibition at Maskit 6, Meira Gera, the director of artistic activity at the America-Israel Cultural Foundation, organized an additional exhibition of his works at the foundation's exhibition hall in New York City. The exhibition sparked immense press interest, and was also displayed for a few months at the New York Jewish Museum, from where it travelled throughout the United States. Followed by the exhibition at the Delson-Richter gallery in Old Jaffa, which was later also exhibited at the Jerusalem Theatre. Kopel's tapestry "The Time for Singing has Arrived" was printed on a UNICEF greeting card in 1978 and again in 1981. The Israeli Philatelic Service issued three stamps based on three of Kopel's holy ark curtains and one stamp based on an Independence Day poster he designed. Kopel's creations decorate a large number of synagogues, public buildings, hotels and private collections which were purchased in Israel and around the world. They have decorated, among others, the walls of the King David Hotel...

"We are all equal in the fact that we are all different." These poignant words serve as the foundation of "Harmonious (Mixed Feeling)." The artwork beautifully captures the essence of diversity by presenting two women, each with their own distinct features, cultural backgrounds, and experiences. The artist's skillful portrayal of these differences reminds us that our individuality is a cause for celebration, as it contributes to the vibrant tapestry of human existence. "We are all the same in the fact that we will never be the same." This powerful statement challenges the notion of uniformity and emphasizes the beauty of our unique identities. In "Harmonious (Mixed Feeling)," the smiles shared by the two women symbolize a universal language of joy and happiness. Regardless of our disparities, the human capacity to experience and express emotions unites us on a profound level. It is in these shared emotions that we find common ground and build bridges of understanding. "We are united by the reality that all colors and all cultures are distinct & individual." The vibrant colors depicted in the artwork serve as a metaphor for the rich diversity present in our world. Just as a rainbow showcases a spectrum of hues, cultures, and ethnicities contribute to the multifaceted nature of humanity. "Harmonious (Mixed Feeling)" reminds us that it is within the intersections of our varied backgrounds that we can appreciate and learn from one another, fostering a sense of respect and admiration for the tapestry of cultures that surround us. "We are harmonious in the reality that we are all held to this earth by the same gravity." These profound words emphasize the fundamental truth that unites us all: our shared existence on this planet. Regardless of our differences, we are bound by the interdependence of life, breathing the same air and being subject to the same natural laws. The artwork serves as a reminder that, beyond societal constructs and cultural boundaries, we are all interconnected beings, deserving of empathy, compassion, and respect. "I will not blind myself and say that my black brother...

Casey Matthews creates rich paintings with multi-media surfaces that are both visually intruguing and full of energy. They incorporate expressive color, fluid movement, and strong el...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

"Be-Flowered" is deeply rooted in the African cultural heritage of a female child. In African culture, it is revered that a young woman should maintain her sexual purity until marriage, which brings immense joy and honor to her family when her husband finds her a virgin on their wedding night. The title "Be-Flowered" is derived from the concept of "Deflower," which signifies taking away a lady's innocence or dispossessing her of her virginity. However, in this painting series, my premise is centered on empowering women and celebrating their pride and inherent power. The first two pieces of the series feature ladies adorned in traditional South African bids worn during the Virgin festival. The gentle pink clouds symbolize feminine power and poise, evoking the strength and grace embodied by women. A community that empowers women tends to uphold higher moral standards than one that does not. My perspective veers away from the idea of gender equality, recognizing its limitations, and instead, I believe in gender equity, providing each gender with the opportunities they need to fulfill their potential. This series aims to leave my audience with a profound appreciation for empowerment and a celebration of cultural heritage. I hope viewers will reflect on the significance of embracing one's roots while acknowledging the strength and beauty that women contribute to society. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Paul Ayihawu...

I am usually not thinking so much about a finished work, but am inspired, accepting and mystified by the process of creating it. I see each of my works as a rehearsal in enduring un...

Designer/Artist & Manufacturer: Hernan Bas (n. 1978) Markings: no marking(s) apparent Country of Origin & Materials: American; ink on incised silver gelatin print Dimensions(H,W,D): ...

The dynamic beauty of the natural world inspired Canadian artist Otto Rogers. This striking painting’s waves of colour in earthy tones of blue, gold, brown, black and white is enhanc...

Eternal Recurrence #70 by Natasha Zupan Photo collage with intervention by the artist Image size: 59.5 in. H x 48.5 in. W Frame size: 63 in H x 53 in W x 1 in D Framed 2015 ________...

The artwork titled "Kuluso (Ant-Lion Larvae)" is a captivating piece that portrays a man standing beside a woman carrying a child who is breastfeeding. The artwork was created by Nigerian artist Adegbenro Adeola...

The centerpiece of "Woman of Valor" is undoubtedly the woman's majestic afro hairstyle. In this artwork, the afro becomes a symbol of pride, cultural identity, and natural beauty. Historically associated with the Black community, the afro has been a powerful emblem of resistance, self-expression, and defiance against societal standards of beauty. By prominently featuring the afro, Edwin highlights the strength and resilience of women who embrace their heritage and challenge conventional norms. The woman's stern gaze in "Woman of Valor" captures the viewer's attention and evokes a sense of determination and self-assuredness. The intensity of her gaze serves as a reminder that strength does not always manifest through loud or overt actions. It can also be found in the quiet confidence and unwavering resolve of an individual who knows her worth and stands firm in her beliefs. Edwin skillfully portrays this inner strength, encouraging viewers to recognize and celebrate their own uniqueness. One of the most remarkable aspects of "Woman of Valor" is its celebration of individuality and authenticity. The woman depicted in the artwork stands as a testament to the power of embracing one's true self, regardless of societal expectations or pressures. By representing her with pride, Edwin inspires viewers to embrace their own identities and celebrate their personal journeys. The artwork encourages individuals to recognize the inherent strength and beauty that comes from being true to themselves. Edwin's attention to detail and mastery of his craft infuses "Woman of Valor" with emotional depth and resonance. The artist's use of color, light, and shadow adds depth and dimension to the woman's features, capturing her inner world and inviting viewers to connect with her on an emotional level. The artwork becomes a mirror that reflects the strength and determination within each viewer, inspiring them to embrace their own unique paths and stand tall in the face of adversity. Crixtover Edwin...

In this Modern abstract painting by Stanley Bate, a bold palette is married with imperfect shapes and large brush strokes. Sandy beige rectangles blend with yellow and deep blue, on ...

The Radiants, Le Fauteuil de l'oubli & Head, (Triptcyh) 2020, by Hunter & Gatti Acrylic and oil pastel on Pigment Print Overall Image size: Image size: 76 cm. H x 183 cm. W Individua...

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