Archival Paper Mixed Media

Archival pigment prints from a scanned polaroid, taken with a vintage SX70 Polaroid camera Available in various sizes Chasing the Fog :: Learning how to Breathe is an exploration of...

48 x 48 inch framed + $2,000 New York-based, Armenian-born artist, Tigran Tsitoghdzyan, is especially interested in how people interact in this new era of technology and social media. His “Mirrors” series suggest a close examination of self, and yet hands held to the face shield...

85 x 61 inch framed + $2,400 New York-based, Armenian-born artist, Tigran Tsitoghdzyan, is especially interested in how people interact in this new era of technology and social media. His “Mirrors” series suggest a close examination of self, and yet hands held to the face shield...

Alston’s work explores a plea for better respect of the earth, with nudges on what society can do to create a world of substantial ecological balance by understanding the tension bet...

Alston’s work explores a plea for better respect of the earth, with nudges on what society can do to create a world of substantial ecological balance by understanding the tension bet...

Piece is floated on a white mat with white frame. Framed dimensions are 18 1/2 x 14 1/2 inches. James Henderson’s work explores the concept of memory and nostalgia. Utilizing found...

Butterfly with Mended Wing is a study of the human condition and the work we all do in our own lives to belong more fully to ourselves. The red stitch on the wing is symbolic of our ...

In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned both as defenders in battle and symbols of pacifism. In 2019, Stein re-conceived her Kni...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien who have been inspired by the explorers of the past. Like them, she draws, in part, on the singular tradition of polar exploration narratives as well as fictions such as Ursula Le Guin’s “Sur” (1981), a utopian feminist hoax in which a party of South American women reach the South Pole in 1909, two years before the official arrival of European explorers. Le Guin’s explorers do not feel compelled to leave any written record or physical proof of their presence at the South Pole. If Le Guin’s women might have made it, what other traces have been missed? Collage can work alongside alternative history: it interprets, interrupts, and rearranges. It questions the completed whole, instead emphasizing composition and relation. Collage suggests it all might be … otherwise. Houston’s collages flaunt their second nature. Yet what they show remains somehow plausible. You want to believe what you’re beginning to see. In “A life Attuned to Larger Rhythms” Houston grids out rectangles of captured images to overwhelm the eye as the polar environment itself might (whiteout is a paradoxical species of optical overstimulation). Through the strangely ordered confusion of an ice survey grafted atop a chessboard, the mind begins to recognize new connections, emergent shapes: a different future? In “Launching Strategy” a yellow-orange pyramid balances garishly atop a tent. Which came first, the realist tent or the Platonic shape? Can we ever be sure that we’re not already seeing through premade abstractions? Or is it that baggage we’ve been dragging along? In “Architecture of the Anthropocene” and “Red Blood, Red Earth” Houston reroutes visually symbolic through-lines between women and non-European people and the official history in which they appear dimly or not at all. A full-skirted woman holds onto the tether of a kite that seems to pull her upwards towards a weather balloon floating above an Antarctic base’s radio tower; a row of tropical workers wielding pickaxes folds into the trajectory of a sailor aiming a bow and arrow at an iceberg stained with red. These are not people or images normally associated with polar discovery. But shouldn’t they matter? “Territory Over Land” strips in a scene from a painted depiction of the tropics, possibly from one of Captain James Cook’s circumnavigations. “Captain Cook’s Legacy” more directly confronts an official portrait of Cook with the torn-in eyes from what can only be described as the explorer’s anonymous dark Other. The hybrid portrait is a kind of contact zone. “Henson and Peary – Past Entanglements” is a cooler, less volatile twin portrait of disputed discoverer of the North Pole Robert Peary...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien who have been inspired by the explorers of the past. Like them, she draws, in part, on the singular tradition of polar exploration narratives as well as fictions such as Ursula Le Guin’s “Sur” (1981), a utopian feminist hoax in which a party of South American women reach the South Pole in 1909, two years before the official arrival of European explorers. Le Guin’s explorers do not feel compelled to leave any written record or physical proof of their presence at the South Pole. If Le Guin’s women might have made it, what other traces have been missed? Collage can work alongside alternative history: it interprets, interrupts, and rearranges. It questions the completed whole, instead emphasizing composition and relation. Collage suggests it all might be … otherwise. Houston’s collages flaunt their second nature. Yet what they show remains somehow plausible. You want to believe what you’re beginning to see. In “A life Attuned to Larger Rhythms” Houston grids out rectangles of captured images to overwhelm the eye as the polar environment itself might (whiteout is a paradoxical species of optical overstimulation). Through the strangely ordered confusion of an ice survey grafted atop a chessboard, the mind begins to recognize new connections, emergent shapes: a different future? In “Launching Strategy” a yellow-orange pyramid balances garishly atop a tent. Which came first, the realist tent or the Platonic shape? Can we ever be sure that we’re not already seeing through premade abstractions? Or is it that baggage we’ve been dragging along? In “Architecture of the Anthropocene” and “Red Blood, Red Earth” Houston reroutes visually symbolic through-lines between women and non-European people and the official history in which they appear dimly or not at all. A full-skirted woman holds onto the tether of a kite that seems to pull her upwards towards a weather balloon floating above an Antarctic base’s radio tower; a row of tropical workers wielding pickaxes folds into the trajectory of a sailor aiming a bow and arrow at an iceberg stained with red. These are not people or images normally associated with polar discovery. But shouldn’t they matter? “Territory Over Land” strips in a scene from a painted depiction of the tropics, possibly from one of Captain James Cook’s circumnavigations. “Captain Cook’s Legacy” more directly confronts an official portrait of Cook with the torn-in eyes from what can only be described as the explorer’s anonymous dark Other. The hybrid portrait is a kind of contact zone. “Henson and Peary – Past Entanglements” is a cooler, less volatile twin portrait of disputed discoverer of the North Pole Robert Peary...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

This work is sourced directly from the artist. Butterflies cut from $2 bills, arranged in the shape of a pot leaf, and pinned with stainless steel entomology ...

"Alone" is a unique artwork by Eustace Mamba made from mixed media, layered paper and oil painting. This piece measures 30"h x 24"w x .75"d and ships with a gallery-issued Certificat...

Outlander, Contemporary Photographic Collage by Justine Kurland Justine Kurland “Outlander” 2022 Signed Collage (Unique) 48 x 43.5 inches Contact gallery for price.

Morning Song, by Melanie Yazzie, work on paper, monotype, female, red, blue

Framed work on paper with monotype elements Hand pulled and painted 1/1 unique work of art As a printmaker, painter, and sculptor, my work draws upon my rich Diné (Navajo) heritage....

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

Pop and Contemporary Pop / Figurative Art / Use of Common Materials Desert Sands, 2022, beadwork on paper, bead art, landscape, cactus, cacti, sky, skyscape, mountainscape, plant life, desert scape Delightful beadwork by Molly Craig...

CUSTOM Contemporary Art, Gold Leaf Portrait, Modern Art-Harmony ABOUT THIS PIECE: “Harmony, (Behtyie-A13)” is mixed media portrait art by Addison Jones featuring her own portrait ph...