Gale Antokal

Emergency Exit (Uscita di Sicurezza)

2024

Artwork using Akua intaglio ink on Fabriano Rosaspina 220 gsm paper.

Sibylle Peretti is a master of materials. Working in glass and porcelain, she creates a world at once magical and fiercely real. There is a poignant critical tension between the beau...

A sculptural wall piece of book covers using graphite. Three dimensional.

A beautiful collage with 17th century atlas book plates.

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 ________...

Cocteau Aqua Atla, #2235 by Natasha Zupan Photo Collage Image size: 43 in. H x 34 in. W Frame size: 51.5 in H x 40.5 in W x 2 in D White wood frame Signed lower right on recto by th...

Realistic still life painting of bright flowers on dark blue Hand-painted cyanotype by Julia Whitney Barnes "Picturesque Botany (Rose, Morning Glory, Hellebore, Crocus, Pollinators, ...

Poland (Glider) by Andrea Moreau colored pencil and postage stamp on paper 22 x 30 inches 25.25 x 32.5 inches framed To create her mixed-media artworks, Andrea Moreau selects a postage stamp to serve as the starting point for a piece on paper, then “completes” the image with colored pencil. This artwork, "Poland (Glider)," centers on a stamp that depicts an aircraft flying above a glacial horizon. Building on the style and environment established by the stamp art, Moreau extended this scene across land and sea in vibrant blue pencil. A statement by the artist: My drawings function as personal interpretations of political or commercial propaganda. I begin with imagery found on postage stamps or printed advertisements and, using the visual logic and graphic language of the image, I attempt to tease out a larger framework from which to consider it. Finished pieces often incorporate printed matter and cultural detritus, which gives them an immediate and tactile connection to the world of objects. I am particularly interested in the postage stamp as a geographical artifact, and through my drawing process I attempt to learn something about a place by studying its official imagery and then creating a world beyond the borders of its fragmentary scenes. The finished drawings and paintings are a record of this study; they are a dialogue between the printed and the drawn, the official and the personal, the real and the imaginary. They are a metaphor for the way in which we conjure the places we hear about on the news and read about in books, using the tiniest pieces of information to construct a reality that most likely bears little resemblance to any actual place. Andrea Moreau’s mixed-media works, on the other hand, walk a tightrope between context and isolation. Moreau selects a postage stamp to serve as the starting point for a piece on paper, then “completes” the image with colored pencil. These stamps may become lost in a frenzy of Moreau’s mark-making, as with “Mexico (Flowers) #15,” or left comically obvious, like in “USA (Barbershop...