Ink Mixed Media

Signed label and COA

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Mari Ito was born in Tokyo, Japan in 1980. She majored in Nihonga, Japanese-style painting made with traditional practices, techniques and materials. She moved to Barcelona (Spain) i...

Represented by George Billis Gallery, NYC & LA --Pulling imagery and motif from organic form, architecture, media and design I create densely layered, mixed-media paintings that ar...

'Untitled #6 in 2017 by New York City base, French artist Sandrine Kern. Acrylic, oil, and ink on paper, Paper: 13.25 x 17 in. / Frame 19 x 25 in. This abstracted landscape work on ...

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 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...

Elfi Schuselka (Austrian, b. 1940), Abstract Composition, Mixed Media on Canvas, stamped "Studio Elfi Schuselka" to verso, unframed. 6" H x 8" W x 0.75" D. Provenance: From the colle...

Coloured inks and pastel on paper Signed Gestural abstraction Outsider art Artist’s statement : "Painting, for me, is an expressive endeavor in which one depicts the evolution of the various facets of the artistic self. There is, on each canvas, a tension where violence and stillness naturally coexist. By playing with different materials, I seek to establish a sort of unexpected dialogue between these states, and aspire to express this tension through profusion of color. The canvas is the stage that allows me to unite narration with the action of painting the fantastic—even the outrageous---and the everyday. I develop scenarios borrowed from the imagination, which join fantasy, even fables, with the everyday. Pulling threads from each domain, I bring together the mythical and the quotidian, so that the worlds of reality and fantasy merge. I rely on “creatures,” improbable little characters that could exist in some other realm or dimension. They materialize, issuing forth from the surprising, unbelievable and wondrous world of childhood. Human or animal, both find themselves entangled in inextricable and melancholic situations. These inextricable situations create distance; the humor comes through this breach. It is the absurdity of their predicaments that manifests the humor in the work. In each of my paintings, the sentiments are heightened by an intentional, provocative tone that transforms the work. An Otherness is attributed to objects; objects become personified, and by their very presence, they become witnesses or guinea pigs torn between and bound to their dilemma. The titles of my paintings, whether invented or quotations taken out of context, come from literature, theater, or song lyrics. Accident and chance are often major actors in my work.” Emmanuelle Messika BIOGRAPHY : Emmanuelle Messika was born in France in 1979. She works and lives in Paris. STUDIES 1999-2005 École Nationale Supérieure des Beaux-Arts de Paris Diplômée en Juin 2005 2004 Échange universitaire à Hunter College, New York NY, USA 1993-1999 Ateliers des Beaux-Arts de la Ville de Paris, Montparnasse PERSONAL EXHIBITIONS : 2019 Claire Corcia Gallery, Paris 2018 Claire Corcia Gallery, Paris Outsider Art Fair, Paris 2012 Art Contemporain Sèvres, "La Chartreuse", Sèvres 2011 Espace Seven, Galerie De Vos, Paris 2010 Les Trois Baudets, Paris Galerie Mariska Hammoudi, Paris Galerie Crous -Beaux-Arts, Paris L'Apparemment Café, Paris 2009 Espace Rachi, Paris 2008 Galerie Console, Paris 2007 Exposition Place du Québec, Mairie du sixième, Paris 2006 Galerie Eonnet-Dupuis, Paris 2005 Galerie Crous Beaux Arts, Paris 2004 The Mark Bar, "Bring your own flashlight", Brooklin, New York 2003 Le Glaz’art, Paris 2002 9 rue Dauphine, Paris 2001 Galerie Gauche, École des Beaux-Arts, Paris 2000 La grosse caisse, Paris La liberté, Paris GROUP SHOWS 2011 Chic Art Fair, Galerie Mariska Hammoudi Galerie De Vos, Espace Seven 2010 Galerie Mariska Hammoudi, Paris Chic Dessin, avec Cherry Gallery...

1947 Bristol Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1947 Bristol vintage red car. Antique car stamp ...

1924 Bugotte Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1924 Bugotte vintage blue car. Antique car stamp ...

1910 Mercedes Knight Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1910 Mercedes Knight vintage yellow car. ...

1939 Lagonda Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a vintage 1939 Lagonda car. Antique car stamp Artis...

Illustration of a Red Buick Super Vintage Car - from the Antique Automotive Stamp Series A couple stands next to the red car in front of a mid-cent...

Complete title: El Origen del Deseo - Buen Rollo I (The Origin of Desire - Good Vibes I) Mari Ito was born in Tokyo, Japan in 1980. She majored in Nihonga, Japanese-style painting m...

Signed Lower Left Illustration for part eleven of "The Flying Fish" by Arthur Somers Roche, Collier's, August 19, 1918.

Signed Lower Left Label on the back of this piece listing a story entitled “Waterfront Swindler". The story title was likely changed before publication, something that the POST did ...

Ink on board Board size: 8 x 8.5 inches Framed size: 24 x 23 inches Signed and dated 11-24-89 (United Feature Syndicate Inc., 1989) Provenance: Private collection, USA

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Collage on canvas, Quadriptych “From an early age, I was known as the “searcher”. I was attracted to the spiritual side of life, its abstract qualities. My father, a dentist and ant...

Collage on canvas “From an early age, I was known as the “searcher”. I was attracted to the spiritual side of life, its abstract qualities. My father, a dentist and antique dealer, ...

Munroe, who is formally trained as a printmaker, creates sublime paintings with imagery inspired by archetypal forms of the circle and the square. Employing tools and processes from ...