Chelsea Velaga

Chelsea Velaga Framed Ink & Wax - Contemporary Mixed Media - "Mudra 5"

2019

A figure reclines in a red and yellow-strapped lawn chair. The figure sitting in the chair is activated by Aldrich’s transformation of paint and resin into oozing swaths of skin between the lawn chair straps. The chair, recalling the grid, works as a pattern trying to hold and contain the body resting inside it. -- Building on her previous show, Main Squeeze, which featured bodies pressing through the grid of lawn chairs, in “That Feeling When,” Aldrich expands the excess of materials to large figure paintings and small, overfilled sculptures. Aldrich uses thick materials that protrude from the surface, reminding the viewer that the paintings are not only physical objects in themselves, but also create the illusion of the picture. The work employs a risky excess of material that borders on uncontrollable; becoming metaphoric for barely controlled femininity, the attraction and repulsion of materialism, and the body pressing against constraints. The figures in the paintings are seen from behind or have turned away. The viewer is put in a place of questioning whether they are a voyeur or a co-viewer with the figure of something deeper in the picture plane. The full body paintings...

This sculpture by Kenzie Wells depicts a surrealist landscape and an abstraction of a home or "castle." Stone tiles create a small walkway and steps to an archway, where a blue foam ...

This sculptural piece by Kenzie Wells depicts a surrealist, abstracted landscape of a house. Arches or cloudy blue skies intertwine with dark, geometric shapes. Flashes of steel and aluminum are interwoven by green garden hoses...

This sculptural piece by Kenzie Wells was created for an exhibition titled "Gradience." A large oblong shape takes on biomorphic qualities, as its iridescent "skin" exhibits several ...

In BOOM BUST REPEAT17, Peña creates a silhouette of house and fills it with sharpe-edged shapes that contain gradients and saturated hues of red, green, and violet. He balances these colors with muted tones of orange and yellow . The viewer can create a house that is yet to be built in between the gaps here. In "Boom, Bust, Repeat", Peña remarks on a house and landscape that has yet to take place. The painting is created with watercolor and acrylic paint on paper. In the foreground we see Sintra board or flattened PVC that has been CNC routed. In the "soil" beneath the house are small circular lines that have been hand drawn with India ink. The Sintra board has been cut to reveal arrows in the negative space pointing upwards as to hint at a boom in the market. Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment and national psyche. The realization that both the idealistic pursuit of happiness and the relevance of painting in a technologically driven world informs his practice. With each composition the labor begins with digital composites of a fragmented American landscape in peril —where tension lies in the contrasts between past and present, analog and digital, representation and abstraction, and stability and instability. In his most recent series the American home (stability) and fragmented and shifting landscape (instability) are veiled by a digitally produced mat. Traditionally a mat is, by definition, a flat, thin piece of paper based material included within the picture frame and serves as additional decoration when framing artwork. He activates this commonly overlooked material by using a non-traditional material, Sintra (flattened sheet of PVC), that has a negative digitally drawn image cut-out. This cut-out might, at first glance, look hand cut however, a more astute viewer would realize the precision is mechanical. The mat has been transformed from inactive decoration to digitally produced veil that represents the technologically anxious precision we surround ourselves with. Nick Peña...

In FUNGI, FOLIAGE, AND TOPAZ, Sue Fox formally drives forward her craft. Drawing inspiration from the Slow Art movement and beginning without an explicit purpose in mind, this work utilizes smaller...

Ceravolo's Large scale paintings have received international acclaim for more four decades. Known as "The Rock and Roll Painter" and "Painter of the Stars of Rock" by the media, Cera...

As an artist, I am a storyteller wielding visual art as my medium. My creative journey is fueled by a relentless thirst for knowledge acquired through both hands-on experience and ke...

They reveal themselves over time & Disappeared where it's hard to disappear, Diptych by On Hansen Oil wax, acrylic, graphite, organic ink, and crayon on canvas. Overall size: 48 in. ...

Ceravolo's Large scale paintings have received international acclaim for more four decades. His art, came to popular attention when he was commissioned to create 5 large scale oil on...

I've been going around, 2022 by On Hansen Oil wax, acrylic, graphite, organic ink, and crayon on canvas. Image size: 36 in. H x 48 in. W Mounted on a stretch...

They reveal themselves over time, 2022 by On Hansen Oil wax, acrylic, graphite, organic ink, and crayon on canvas. Image size: 48 in. H x 36 in. W Mounted on a stretcher __________...