Frances Berry

DON'T HIDE YER HOORAY - Painting - Oil, charcoal, and acrylic on paper

2019

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...

This work is a secondary continuation to my "Vanilla Extract" series (2002 - ongoing) which examines the practice of racial positioning in contemporary print media. This piece depic...

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...

In ALL ONE, Sue Fox makes a prescient statement about the complex racial issues which plague American life. While originally intended to function as an demographically-accurate ethno...

In TODDLER TANTRUM, Sue Fox tests the meditative limit of her artistic work. Intuitively collaging smaller pieces of bright pinks, purples, and yellows, she expresses the thoroughly ...

In BLUE SKIES FOR ANDREW, a piece designed for a show at the Chattanooga airport, Sue Fox pays tribute to the metaphorical expansiveness of doing one’s craft. Drawing inspiration fro...

The "White Inferno" series features crafted mixed media artworks, blending diverse mediums to create intense visual compositions. Incorporating collage p...

The "White Inferno" series features crafted mixed media artworks, blending diverse mediums to create intense visual compositions. Incorporating collage p...

Kapil Anant - Indian Shining - 8.3 x 11.8 inches - each (unframed size) Acrylic, Ink on Canson Paper, 2021 ( Set of 25 ) Inclusive of shipment in rolled form. Kapil Anant was born...

'Love Garden Party (Picnic #3)' is an original mixed-medium work of art composed of high quality acrylic paint, opaque, metallic and neon inks, and hand-cut collage, on 35.875"h x 23.875"w on cold press paper stock. The painting is framed (41.5"h x 29.5”w.) with conservation quality, high UV-filtering museum glazing. Signed by the artist. Part of Skip Hill's 'Love Garden Party' series, this work depicts two women gathered around a festive table filled with food and drink. Skip Hill was born in 1961 in Padre Island, Texas but grew up primarily in Oklahoma City. After attending Oklahoma City University to study Advertising and Marketing, he worked as a graphic designer before relocating in 1987 to Southern California. A two-week trip to Thailand in 1989 turned into a year traveling throughout Southeast Asia while writing for a business magazine based in Bangkok. In 1990 Skip Hill relocated to the Netherlands, immersing himself in the culture and learning the Dutch language. His frequent visits the Van Gogh Museum, the Stedelijk Museum and The Rijksmuseum in Amsterdam as well as the Boijman Van Beuningen Museum in Rotterdam, sparked Hill’s interest in creating art inspired by aesthetic concerns over the strictly commercial art he produced during his advertising career. It was during this time abroad that he traveled through Germany, Czechoslovakia and Morocco. After returning to Oklahoma in 1993, Skip Hill studied formally at The University of Oklahoma with conceptual artist Hachivi Edgar Heap of Birds, and influential abstract painter George Bogart...

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...

Acrylic, coffee, ink, pumic, soft pastel, transfer on paper