Fabric Mixed Media

Oil, Gesso, & Recycled Plastic on Canvas 96 x 38 in (243 x 96 cm) "This collection was inspired by my ongoing fascination and respect for water and our environment, which has b...

"The End or the Beginning" is an original 13in x 13in painting by Kelly Kozma with mixed media elements. Please note: The last three photos show images of the full "Tiny Particles...

‘Starting with a drawing of "real" flowers, I create layers of thinly veiled surfaces. They become abstracted through the process of multiple printings. The essence of flowers become...

Swiss artist Marion Duschletta transforms luxury objects and urban landscapes from around the world into unique artworks. She layers an intriguing mixture of urban photographs and Am...

Abstract artwork dominated by lime green and various shades of blue.

Dipali Bhattacharya - Untitled - 20 x 20 inches (unframed size) Mixed Media on canvas Inclusive of shipment in roll form. Style : Bhattacharya works in many mediums but finds that s...

‘Starting with a drawing of "real" flowers, I create layers of thinly veiled surfaces. They become abstracted through the process of multiple printings. The essence of flowers become...

“Iris Blue Folds” is a deep blue colored wall sculpture made with burlap on wood. The folds are carefully arranged from a single piece of burlap. This creates a dynamic artwork where...

Beginning with my great grandmother Cesarea, one of the founders of the town named Placetas in Cuba during the 1860s, women and the roles they have played throughout history fascinat...

Oil, Gesso, & Recycled Plastic on Canvas 96 x 38 in (243 x 96 cm) "This collection was inspired by my ongoing fascination and respect for water and our environment, which has bee...

Represented by George Billis Gallery, NY & LA -- Steven Kinder talks a lot about energy, form and movement and getting at the essence of something. Getting to the middle of it....

This is a very active and textured painting in a vertical composition. There are multiples collages on a blue background. The main focus is a person in red holding a a black star, along with other figures and lit up homes. Paint also drips down that canvas. At the bottom of the painting is a grey Saturn. To see more images of this piece, please message us. Casey McGlynn grew up in rural Ontario, where he would sit in front of the television and draw on old grocery bags and scrap paper tirelessly, creating self-taught surrealist pop art. McGlynn attended the Ontario College of Art and Design, however, he was not enrolled in the visual arts. McGlynn’s work contains reoccurring symbols such as animals from his upbringing, birds from his studio window sill and numbers that derive from when he memorized math tables in his early years. McGlynn’s work is as much about revealing the truth and expressing emotions as it is about documenting actual fact. His paintings reach into a wealth of historical influence and skill. Creating symphonic glyphs on rudimentary, raw quilt-like patterns, the works simultaneously evoke rural Southern quilts...

Sunset Sea Clouds, Key Largo, blue, pink, green, textured painting, light, large-scale seascape painting

Jongwang Lee's paintings challenge a dormant potential he believes lives within all humans. Inspired by Buddhist philosophies of space, Korean ideas of communication with the soul, a...

Steven Kinder talks a lot about energy, form and movement and getting at the essence of something. Getting to the middle of it. He wants his work to call out in some way. He is inspi...

Steven Kinder talks a lot about energy, form and movement and getting at the essence of something. Getting to the middle of it. He wants his work to call out in some way. He is inspi...

Beginning with my great grandmother Cesarea, one of the founders of the town named Placetas in Cuba during the 1860s, women and the roles they have played throughout history fascinat...

Useful Object Light, 2009 Oil on canvas, wooden box, mirror, gas lamp 47.63 H x 27.55 W x 11.81 D in 121 H x 70 W x 30 D cm Signed on reverse In the "Useful Objects" series, th...

"Vessel" is an original 13in x 13in painting on stretched canvas by Kelly Kozma. Image 1 shows the full piece. Images 2-7 are close-up images of the details of the artwork. Images 8...

"Right Behind" is an original 13in x 13in painting by Kelly Kozma with mixed media elements. Please note: The last three photos show images of the full "Tiny Particles Connecting ...

"Candied" is an original 13in x 13in painting by Kelly Kozma with mixed media elements. Please note: The last three photos show images of the full "Tiny Particles Connecting the L...

Technique: Fused collage, machine stitched and quilted. Materials: 100 % cotton panel on wooden stretcher Size: 60cm x 60cm (24 x 24inches) each panel

Wonderful abstract tapestry constructed of silk applique from the 1970's. Tapestry has the daring shark/airplane motif of the flying tigers. Excellent an...

This abstract blue, green, and red artwork titled "Link" is an original 13in x 13in painting by Kelly Kozma. Please note: The last three photos show images of the full "Tiny Particl...

Earth, air, water, and fire are the center subjects of my art. I live in New York City-it is close to the ocean, and I’ve developed a deep affinity for the sea, which has also evoked...

"Cameron’s “Collage Paintings,” 2021–22, which he has been assembling in parts ever since relocating to Berlin from the United States in 2015. The source materials are photographs that Cameron has been taking as he perambulates through the city, their compositional logic derived from African American quilting...

"Cameron’s “Collage Paintings,” 2021–22, which he has been assembling in parts ever since relocating to Berlin from the United States in 2015. The source materials are photographs that Cameron has been taking as he perambulates through the city, their compositional logic derived from African American quilting...

Archival pigment print, mounted, UV laminated, frame upholstered by the artist Edition of 5 + 2 AP Alia Ali is a Yemeni-Bosnian-US multi-media artist. Her work explores cultural bi...

Contemporary abstract archival ink print on canvas by Houston, TX artist Mark Flood. The piece depicts a text block with 171 skull emojis. The artist signed the piece on the back of ...

The strength and fragility of humanity is revealed in Larisa Safaryan‘s works. The smooth shape of an egg is the artist‘s “canvas” upon which ideas about life, renewal and rebirth ar...

Tom Lieber is known for his dynamic abstract expressionist paintings, which focus on the human energy, experience, feelings, and processes of receiving and expressing. Lieber uses his powerful intuition to project the state of his inner being onto the canvas, enriching the paintings with strong emotions. Influenced by nature and meditations, Lieber believes that the body can be better equipped for creating than the mind, treating the act of painting as a full body experience with his spontaneous gestures and fearless approach to the canvas. The grace and shape of his bold lines appear over subtle neutral backgrounds with pockets of dense color and movement. His artworks are included in many prominent private and public art collections, including Solomon R. Guggenheim Museum, New York, Metropolitan Museum of Art, New York, Museum of Modern Art San Francisco...

The Dutch multidisciplinary artist, Ger Doornink, specialises in painting, illustration and photography. Time spent living in Tokyo, Milan and currently Amsterdam, has heavily influe...

The Dutch multidisciplinary artist, Ger Doornink, specialises in painting, illustration and photography. Time spent living in Tokyo, Milan and currently Amsterdam, has heavily influe...

Petra Rös-Nickel’s original paintings merge playful forms, bright colors and architectural compositions in oil and mixed media on canvas. Her contemporary artworks contain rich textures and patterns, referencing popular European textile design of the fifties and sixties. Rös-Nickel’s work translates the geometric and organic elements of an era which hoisted the flags of modernism and which, due to a trend to return to a rather retro style, has become topical once more. This colorful 63 inch high by 16 inch wide contemporary oil painting can be installed horizontally or vertically. The sides of this artwork are painted and it does not require framing. This one-of-a-kind painting is signed by the artist on the back. Free local Los Angeles area delivery. Affordable U.S. and global shipping available. A certificate of authenticity issued by the art gallery is included. Petra was born 1963 in Wathlingen near Celle, Germany, and breaks completely new ground with her abstract forms of painting and expression. After studying fashion design at the professional school for clothing in Bremen, 1980, Petra Rös-Nickel changed her field of study to architecture in Eckernförde, 1982. She now lives in Hamburg, Germany. Preferring the creative aspects of the studies to the technical ones, the artist developed the basics of her painting, never denying the roots of applied design and soon ending in a refreshing, distinctive style. Petra Rös-Nickel experiments with form, along with the use of a technique that draws attention to the processes used in creating a painting. Essential is the color space presented in multiple layers that offers the beholder access to more profound color planes. These details, scratchings, and rubbings lead to various elements of tension, such as “patchwork” or harmonious-contemplative forms (“windows”) and “oscillating lines”. Rös-Nickel's modernist paintings develop an energetic impact on the space they‘re displayed in, conveying her joy of life and self-confidence. Her abstract geometric textured artworks have been exhibited and collected worldwide, including Germany, Belgium, USA, Canada, Singapore and Hong Kong. Notable collectors include Chris Rock...

"Midnight Target" is a round mixed media work on canvas by Tom Bolles, with concentric circles in shades of blue and white. This piece is unframed and has a three dimensional quality...

Andresen’s work focuses on the art of repair; more specifically how such actions have consequences both intended and unintended. Using a variety of materially driven processes the wo...

Cotton fabrics, wool batting, cotton and synthetic threads

Flore No Squares In My Circle, 2022 Signed by artist Acrylic and oil on canvas 43 inches, unframed This piece is unique Currently on display at Art Angels Flore byflore modern cont...

Nails and thread on wooden panel, comes in plexi glass box. In his latest body of work, the Dutch artist Nemo Jantzen is combining skills obtained in the earlier years of his career...

Flore What I've Been Waiting For, 2022 Signed by artist Acrylic and oil on canvas 70 x 50 inches, unframed This piece is unique Currently on display at Art Angels Flore byflore mod...

From the collection "Quantas formas tens para contar o tempo" - Acrylic and charcoal on canvas.

This piece of art is unique, one of a kind. The French artist, Jules Dedet Granel, aka L’Atlas, born in 1978, found in his research around writing the startin...

Blue On Blue #1, original vintage 1965 abstract painting by Denver artist, Angelo Di Benedetto (1913-1992). Acrylic paint in shades of blue on shaped 3 dimensional (3D) canvas with a circular form protruding from the center of square painting. Presented in a vintage/original frame, outer dimensions measure 26 ¾ x 26 ½ x 1 ¼ inches. Image size is 26 x 26 x 3 ¼ inches. Exhibited: Whitney Museum of American Art, 1965 Annual Exhibition of Contemporary American Painting December 8, 1965 to January 30, 1966 The son of Italian immigrants from the Salerno province in southern Italy, as a teenager Di Benedetto worked as a truck driver in the mornings and a bartender in the afternoons to study at the Cooper Union Art School in New York City (1930-34) from which he graduated with a certificate in freehand drawing. He won a scholarship to the Boston Museum Art School where he studied for three years, beginning in 1934, with Russian émigré painter, Alexandre Jacovleff, a member of Mir Isskustva (World of Art) in St. Petersburg before the Russian Revolution. In 1936 he painted a religious mural for St. Michael’s Grove in Paterson, New Jersey. The following year, he entered his first juried exhibition at the Montclair Museum in New Jersey, winning first prize and first honorable mention. In December 1938, the Royal Netherlands Steamship Line sent him on a two-month ethnological study trip to Haiti, his first exposure to a different environment outside the United States. During what turned out to be an extended six-month stay, he studied and painted the life and religious customs of the island, resulting in a series of colorful, stylized paintings inspired by his immersion in the local culture. He also did scenes of Port-au-Prince and executed commissions received from prominent people in Haiti, including government officials. In 1940, his Haitian paintings were exhibited at the Montross Gallery in New York (his first solo show) and also reproduced in the January 1940 issue of Life Magazine. One of his Haitian paintings, Morning in Port-au-Prince, was owned by an American author, politician and U.S. ambassador, Clare Boothe Luce, while another image, Haiti Post Office, was acquired for the Encyclopedia Britannica Collection and later donated to Fisk University in Nashville, Tennessee. Before World War II, Di Benedetto traveled extensively around the United States in his car and trailer doing regional paintings. In 1941, he did what is considered the first authentic version of George Washington Crossing the Delaware, a contrast to the well-known painting on the same subject (1851) by German-born painter, Emanuel Gottlieb Leutze. During the war, Di Benedetto volunteered for a secret mission to Africa in 1941 before the Allied invasion, serving as director of camouflage, foreman of native laborers, and an interpreter while based in Eritrea. The following year he received a direct commission as a Second Lieutenant in the U.S. Army Air Corps in the First Photo Mapping Squadron, leading groups as a guide and interpreter and doing ground control. During his free time in Africa, he sketched and painted the local population and his fellow servicemen. Following Africa, he served as an orientation officer and aerial photographic officer for the 311th Photo Wing at Bolling Field, in the District of Columbia where he did a series of illustrated articles describing the natives in the different countries where the men of his organization were stationed during the war. In 1945 he was assigned to a mapping unit at Buckley Air Field in Denver where he served until his discharge in 1946. Like many other servicemen stationed at the time in Colorado, Di Benedetto chose to remain in Colorado, impressed by the state’s physical grandeur and healthful climate. After the war, he lived briefly for about a year in Rangely, a small town in northwest Colorado where he traveled and sketched. But finding it a little too remote, he settled in the old mining town of Central City in 1947, his home base for the rest of his life. He spent his first six years there transforming the old Sauder-McShane Mercantile warehouse into a giant art studio. His initial acquaintance with the town’s mining town history in 1947 resulted in a drawing, Death of a Miner, showing a male figure buried under a pile of collapsed rock in a mining tunnel. In 1949 Di Benedetto and his wife, ceramist Lee Porzio, opened the Benpro Art School in his studio where he conducted summer art classes. The following year he teamed up with a Denver-based artist, Frank Vavra, to open the Denver Art Center at 924 Broadway. He and Vavra were founding members of the 15 Colorado Artists who seceded in 1948 from the Denver Artists Guild because they were dissatisfied with the older organization’s underlying conservatism and the disdain of some of its members for modern art. Welcoming anyone wanting to learn how to draw or paint, the Denver Art Center in downtown Denver only lasted about a year. Undeterred by its lack of success, Di Benedetto continued throughout his career to give workshops, classes, and lectures on art-related topics in Denver and elsewhere. Examples of topics ranged from subjects such as “African Art,” Chappell House, Denver (1945) and “University or Artistic Thought” sponsored by the Art for World Friendship Committee (1954). He also taught locally at the Jewish Community Center, Steele Community Center, International House, Southern Colorado State College-Pueblo, and lectured at the University of Denver. Beginning in 1969 he sponsored over one hundred youths at his studio in Central City to spend a summer learning about art. He also conducted classes for serious working artists. His efforts earned him an honorary doctorate from the University of Colorado in 1977. He likewise promoted contemporary Colorado artists’ work in the 1950s, heading a committee that presented one-person exhibitions in a small gallery at the Vogue Art Cinema on South Pearl Street in Denver. His interest in promoting the arts led to his participation in numerous organizations. In the 1960s he became concerned with environmental and urban art and was the president of Art for the Cities, a Denver-based nonprofit organization. He also was the chairman of and a participant in the first annual environmental art exhibit held at Denver’s American Medical Center. In 1968 Colorado Governor John Love appointed him to the Colorado Council on the Arts and Humanities in which he remained active until 1975. He served for two consecutive years as program coordinator for the Governor’s Conference on the Arts and Humanities. At the 1969 conference, Governor Love presented him an award for his contribution to the art and artists of Colorado. At the same time, he actively participated in the civic life of Central City. The town’s Police Magistrate (1955-56), he twice campaigned for mayor, first in 1966 and again in 1973, and ran for commissioner in 1979. He socialized with artists Ben Shahn, Herbert Bayer and Mark Rothko, as well as theatrical stars appearing at the Central City Opera House, including Helen Hayes, Mae West, and Gypsy Rose Lee. He invited them to carve their autographs on his kitchen table. Di Benedetto worked with equal facility in a variety of media: acrylic, oil paint, watercolor, charcoal, Conte crayon, graphic arts and metal (copper, iron). Up until the early 1950s, his output was dominated by representational figure work and expressionist Colorado landscapes that were not always immune from controversy. When Life Magazine included a reproduction of his Regionalist painting, Lovers in the Cornfield (1941) in its article, “Ten Years of American Art: Life Reviews the Record of a Lively, Important Decade” (November 26, 1946, issue), three counties in Massachusetts banned the publication. Just as immediately, the painting was exhibited in Denver. He said that he liked the West because the people, despite their lack of exposure to art, were individualistic and almost “anarchistic.” In the early 1950s he did woodcuts in a modernist style, including Remembrance, showing his two young daughters. Influenced by Abstract Expressionism at that time, he began considering the elimination of the image from his work. By the end of the decade, he had decided that “the circle – pure and simple was one of the most familiar symbols of mankind and that it metaphored into everything.” At the same time, he noted that “99% of the abstract painters shied away from using…[the circle]. When they didn’t, they slaughtered it, murdered it and buried it. So it became my motif.” For more than three decades he explored the circle in paint, sculpture and shaped canvas. Two examples of the last-named medium are his Red CQ and Black C-1, both from 1969. Because abstraction touched upon his deep feelings and spirituality, he felt he could make visible that part of life which “we feel but almost never see.” His fascination with the circle also relates to his belief that to affect the dialogue existing between object and maker, the artist must “create archetypal shapes [that have universal appeal], not symbols…to reflect simply the intrinsic beauty of the shape itself.” A strong advocate for public art, Di Benedetto headed Art for the Cities, Inc., which sponsored nine sculptures for Burns Park as part of the Denver Sculpture Symposium held in the Mile High City in 1968. The catalysts for the idea of the sculptures were Beverly and Bernie Rosen, who had been instrumental in the creation of the contemporary department at the Denver Art Museum. Along with Di Benedetto, the other participating sculptors were Dean Fleming, Peter Forakis, Roger Kotoske, Tony Magar, Robert Mangold, Robert Morris, Richard Van Buren and Bill Verhelst. The park project eventually served as a prototype for twenty-two states, bringing the sculpture to urban spaces. The sculptures reflected Di Benedetto’s concept of “burden-less environmental art” with no hidden meaning for the public to decipher. His goal in public art was to “create a work which, when integrated with the site, will create a tranquil oasis, a counterbalance to the modern chaotic world we experience daily.” During the 1960s and 1970s, he received other major sculpture commissions: an 80-foot-long copper wall, Jewish Community Center, Denver (1962); sculpture garden, General Rose Hospital, Denver (1964); Fountain, First National Bank of Dallas (1966); Colorado Fuel & Iron Company, Pueblo, Colorado (1969); neighborhood park sculpture, Yonkers, New York (1971); High School Park, Northglenn, Colorado (1974); ice skating rink sculpture, Pueblo (1976). Fate was not as kind to his mural which the Colorado Supreme Court justices commissioned him to paint in 1976 for the Colorado Judicial Building from a field of twenty-two candidates. With his former student, Phyllis Montrose as his principal assistant along with three others, he spent a year and a half executing the mural. Entitled Justice Through the Ages (aka Lawgivers), it depicted sixty individuals from ancient Babylon...

Rather than being purely representational, Jeremy Prim’s oil paintings are emotive and inspired by the Pacific coastline. Known for his evocative minimalist seascapes, the impetus for Prim’s work derives from the beauty of the ocean and the peaceful solitude one feels in its presence. This 38 inch tall by 50 inch wide abstract painting...

"Gun's & Roses" is a mixed media edition piece by Israeli artist Dganit Blechner. She expresses a unique perspective on urban life and pop culture through her vivid mixed media art...

''Paris'' is a unique mixed medium acrylic on Canvas by Ophear The artwork comes with a certificate of authenticity. This piece is signed and comes ready hang. OPHEAR is an Americ...

Pop Art. Vibrant. Fun. About the Artist: Blurring the line between mass consumerism and fine art, New York City based artist Jojo Anavim has established his body of work stemming...

Pop Art. Mixed Media on canvas. A celebration of beach life. Fun. Vintage feel. Homage to the tootsie pop in a fun play off pop. About the Artis...

Arizona artist Gail Titus paints vibrant abstract compositions in acrylic on canvas with a focus on texture and color. The geometric planes of her artworks and the texture in her mov...

Bill Claps HUANGSHAN GORGE Huangshan Gorge 47” x 21” mixed media on canvas 47.00 X 21.00 in

Gentleman’s Game is a partnership of artists, Brandon Friend and Jason Douglas Griffin. In their signature technique, Friend and Griffin collaborate and create works by combining mix...