Oil Mixed Media

Going Her Way is an oil and mixed media painting on canvas, 40 x 30" canvas size, signed ‘FRESSINIER’ lower left and framed in a contemporary, white wood frame. Francois Fressinier...

Timothy White is a mixed media artist who comes from a background in fine furniture making. His current body of work is a series of evocative mixed media panels, entitled “American P...

Timothy White is a mixed media artist who comes from a background in fine furniture making. His current body of work is a series of evocative mixed media panels, entitled “American P...

This stunning contemporary take on the classic American flag was completed by Alysha Marko in 2019. The process took a total of four months, as the pieces were individually cut by the artists using a jigsaw. The theme of the American flag was prevalent when Alysha was studying painting. A recognizable symbol, Alysha makes it her own by using striking, contrasting colors, and floral shapes. She takes what it means to be an American artist literally in this unique piece of American art. Alysha Marko Flag 3, 2019 Wood, acrylic & oil on wood 37.25 x 51.75 in $5,000 About the artist With her background in psychology, painting became a form of archetypal psychoanalysis of society and self-reflection. In 2019, Alysha Marko founded UEast75 Gallery, now AMRM Gallery...

Timothy White is a mixed media artist who comes from a background in fine furniture making. His current body of work is a series of evocative mixed media panels, entitled “American P...

The Long Way 10 is part of the “Path to Eminence” series by Meghan Wilbar. During the pandemic, the uncertainty and isolation led Wilbar on a new series of work depicting the roads ...

Drawing on a wealth of resources, Benjamin Risk invites you to join an adventure of unconscious thought and imagination where everything seems familiar, yet surreal. With hi...

Karen Shahverdyan „Pentagrámmos“ 70 X 70cm, oil on canvas

Karen Shahverdyan „Pentakel II,“ 70 X 70cm, oil on canvas

Oil on vintage architecture magazine paper

Oil on vintage architecture magazine paper

Oil on vintage architecture magazine paper

#fantastic #zoology #texture #eye #paper, #color, #hole and #eye, into the #whale, from film Into The Woods, miguel villafuerte (Quito 1991) graphic designer and visual artist, lit...

Maren Conrad’s mixed media works manifest meditation in vibrant, visual display. Inspired by the concepts of loss and renewal, Conrad creates visual metaphors that express the collec...

Oil, charcoal, wax, pigment, and graphite on canvas. Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotat...

When creating his artworks, Éric Lamontagne begins by painting a landscape scene, often with a body of water or cliffs. He then carefully cuts, folds, rips, and slashes the canvas bo...

Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotations and geographical memories: that summer you spent ...

Collage, acrylic and graphite on paper. This abstract collage by the New York/ Hawaiian artist, Debra Drexler, incorporates cut paper, drawing and impasto brushwork with poured pain...

Collage, acrylic and graphite on paper. This abstract collage by the New York/ Hawaiian artist, Debra Drexler, incorporates cut paper, drawing and impasto brushwork with poured pain...

“The Front #2” by Eugene Healy, 2020. Fabric collage and oil on canvas. 11.75 x 28.5 Frame: 29.5 x 13.5 inches. His abstract, landscape painting features an abstracted seascape with ...

Small Size stretched oil painting on canvas signed and wired for hanging. Contact Gallery for Framing Options. BIO David Headley was born in Washingto...

Medium Size stretched Oil painting on Canvas. Contact Gallery for Framing Options. BIO David Headley was born in Washington, PA, in 1946. He has a BA i...

Small Size stretched Oil paint on Canvas . Contact Gallery for Framing Options. BIO David Headley was born in Washington, PA, in 1946. He has a BA in Literature from Washington & J...

Medium Size artwork with Oil paint on Canvas (stretched and wired for hanging). Contact Gallery for Framing Options. BIO David Headley was born in Washington, PA, in 1946. He has a...

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...

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 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...

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 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...

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 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...

“Of the return voyage there is nothing to tell… In 1912 all the world learned that the brave Norwegian Amundsen had reached the South Pole; and then, much l...

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...

“She dug out one more cell just under the ice surface, leaving nearly a transparent sheet of ice like a greenhouse roof; and there, alone, she worked at sculptures...

“Eight Adélie Penguins immediately came to greet us … They insisted on us going to visit Hut Point, where the large structure built by Captain Scott’s pa...

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...

"…last Thule of the South, which lies on our maps and globes like a white cloud, a void, fringed here and there with scraps of coastline, dubious capes, suppositious islands, headlan...

“When I was little more than a child my imagination was caught by a newspaper account of the voyage of the Belgica…” Over the Edge of the World locates itself in the entangled lega...

“A SUMMARY REPORT OF THE YELCHO EXPEDITION TO THE ANTARCTIC, 1909-1910. Although I have no intention of publishing this report, I think it would be nice if a grandchild of mine, or somebody’s grandchild, happened to find it some day; so I shall keep it in the leather trunk in the attic, along with Rosita’s christening dress and Juanito’s silver rattle and my wedding shoes...

Oil and graphite on canvas

Oil on vintage architecture magazine paper

Oil on vintage architecture magazine paper

Oil on vintage architecture magazine paper

Luciana Levinton Untitled (Intervention), 2014 Mixed media on paper 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXXVII, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XLIII, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XLIV, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXXVI, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton Untitled (Intervention), 2014 Mixed media on paper 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XLV, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXXI, 2014 Mixed Media 11.9 x 8.1 in (30.23h x 20.57w cm)