Hayley Nichols

THERE (STUDY WITH THREE STAPLES)

SOGNARE XXII by Kim Fonder is a Mixed Media on Burlap that measures 40.00 X 40.00 in and is priced at $3,100.00. Kim Fonder loves texture and touch. Her paintings and furniture refl...

"Rejects the Complexities of Life" by John Randall Nelson is a 19" x 19" acrylic and mixed media piece on panel. The artwork features a symbolic glass of wine placed against a vibran...

John Randall Nelson's "Wavering Wish" presents a deep black background accented with subtle hints of blue. The artwork depicts a dice, outlined in vivid yellow and blue, floating in ...

Kim Fonder loves texture and touch. Her paintings and furniture reflect her infatuation with these two characteristics. From the materials Fonder selects, to the way she crafts each ...

Toufan Hosseiny (b. 1988, La Louvière, Belgium) is a Belgian-Iranian artist based in London and Brussels whose work explores the connection between body, mind, and materiality throug...

Valerie Jaudon Bomb II, 1994 Mixed media oil painting with varnish Signed, titled and dated on the back of the canvas in black marker Unique Frame included: floated and framed in a ...

Johnnie Winona Ross Deep Creek Seeps 10, 2007 Oil paint on acrylic base burnished on Belgian linen Signed twice, dated and titled on the verso; also bears the original Stephen Haller Gallery label\ Canvas is stretched against wooden backing but no outer frame This work was originally sold by the Stephen Haller Gallery which hosted several critically acclaimed, sell-out shows of New Mexico resident Johniie Winona Ross, whose exquisite Minimalist aesthetic really took hold with collectors. The debt to famous New Mexico resident and Minimalist goddess Agnes Martin is obvious, but Winona Ross has a disctinctive style and technique of his own. The process of creating this work was laborious: Ross typically applies as many as 90-100 layers of paint to each canvas, then scrapes the surface with a straight-edged razor to reveal the many layers (and their chronology), and finally burnishing the surface with a Pueblo pottery stone to achieve a soft gloss. Maureen Mullarkey of Studio Matters wrote in 2010: THE LOVELINESS OF JOHNNIE WINONA ROSS' paintings elude translation into either reproduction or verbal description. In 2011, ArtDaily published this announcement from Stephen Haller, publicizing a later exhibition: "Washington Post critic Stephen Parks characterized Ross’s work in this way: “From a distance his canvases appear to be simple, minimal constructions of horizontal stripes with hints of vertical color in the background. Up close the paintings are seen to be extraordinarily beautiful and complex objects that induce a humming meditative state.” Ross grounds his work in the inspiration of the desert of the American Southwest, and borrows techniques from ancient Native American sources, melding them with a distinctly sophisticated and utterly contemporary vision. His use of the Native American technique of burnishing pigment and minerals with a potter’s stone to create a hard surface with a visually warm sheen creates an effect reminiscent of the softening of marble steps...

Large painting made by Peter Kramer in 1999. The painting is made with hundreds of strips of paper of 2 mm each glued on painted canvas. The feeling you have when looking at the pain...