Panel Mixed Media

Encaustic work of art by an acclaimed Maine artist Sara Crisp. Sara Crisp draws inspiration from the delicate balance between the natural and the human-ma...

Abstract painting created with ink extracted from ball-point pens.

Artist commentary: This piece is from a series about pollinators. The bee is painted in watercolors and the entire piece is painted with encaustic (wax). Details are added with ligh...

Artist commentary: This piece is a collage of a 3D fractal with a watercolor of a hummingbird moth. It is painted over and detailed with encaustic (wax) paints. The title refers to ...

Michel Tabori’s paintings are about emotional experiences and blissful acts. He uses colors and textures as sensory triggers. His paintings tell a story, but Tabori shies away from t...

he abstract paintings and drawings of Michael Barringer are steeped in contemplation. The Georgia artist creates works as part of a series, often inspired by art history, archaeology...

he abstract paintings and drawings of Michael Barringer are steeped in contemplation. The Georgia artist creates works as part of a series, often inspired by art history, archaeology...

he abstract paintings and drawings of Michael Barringer are steeped in contemplation. The Georgia artist creates works as part of a series, often inspired by art history, archaeology...

Kristina Grace is a fine artist who both resides and draws inspiration from the Southern California coastline. Living in Newport Beach has served as a constant source of inspiration for Grace. Her life and work reflect countless hours spent on the sand surrounded by surfers and the culture that comes with it. Grace’s art is colorful and whimsical, reflecting a joy found in her surrounding environment. Her unique sculptural works are a result of time spent at a local surf glassing shop, where she honed her interpretation and technique of applying epoxy and polyester resins. While these types of resins are typically used for creating surfboards, Grace has taken the medium even further, incorporating applications of tinted resins on top of small, assemblage figurines in her work. Surfers, skateboarders, and snowboarders appear throughout her current body of work. In addition to resins, Grace works with dense foam and fiberglass to create select pieces. Both of these materials pay homage to the surf culture...

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 piece is new, and available to be hung with one ore more of the three alternative colours available within this 'Butterfly' series, blue, pink and Gold!

Available at Madelyn Jordon Fine Art. 'The Front' by Eugene Healy, 2023. Fabric collage and oil on canvas, 14 x 12.5 in. / Frame 25.25 x 21.25 ...

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...

This work is created in an unique methodology developed by the artist, in which multi-layers of pigmented wax are are cast into a form. Embedded painted cardboard defines the compos...

Artwork by Moon Beom. Moon begins with a monochrome surface using an acrylic pigment. He then applies small dabs of color using oil stick, pushing the oil pigment with his hand into...

Artwork by Moon Beom. Moon begins with a monochrome surface using an acrylic pigment. He then applies small dabs of color using oil stick, pushing the oil pigment with his hand into...

Artwork by Moon Beom. Moon begins with a monochrome surface using an acrylic pigment. He then applies small dabs of color using oil stick, pushing the oil pigment with his hand into...

'Puff' 2019 by Seattle based abstract painter, Liz Tran. Mixed media on panel, 18 x 18 in. Tran's puffs and clouds are her attempt to turn depressing weather into something more joyf...

'Untitled' 2013 by American artist Patrick Berran. Mixed media on panel, 14 x 11 in. This work encapsulates Berran's signature use of geometric forms. The minimalist image features a pyramid form oscillating in an enclosed space outlined by a square. A dramatic dimensional work with layered “screens” of color in light blue and black colors. Patrick Berran’s practice relies on the transformation of visual materials though a process of constant experimentation and recycling. The artist employs various transfer techniques to evolve his original source material into abstract forms, revealing the subtle textures embedded within their surfaces. The resulting patterns have become Berran’s signature form, which he transcribes, layer upon layer, into his painted compositions. Throughout his work, frames and deconstructed grids punctuate his dense patterning to create a frenetic rhythmic quality aligned with the fast-paced and stripped-down audio experience of punk rock music. Patrick Berran lives and works in New York, NY. He received his BFA from Virginia Commonwealth University in 2002 and his MFA from Hunter College, New York in 2006. He has had solo exhibitions at HUNTER / WHITFIELD, London; White Columns, New York; and Chapter NY. His work has been included in group shows at Rod Bianco, Oslo; M+B Gallery, Los Angeles; Indianapolis Museum of Contemporary Art, Indianapolis; and Gavin Brown...

Oil paint and collage on wood panel Unique work Hand-signed lower right by the artist

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 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 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 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...

“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...

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...

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...

“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...

“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...

“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...

“But then, the backside of heroism is often rather sad; women and servants know that …But the achievement is smaller than men think. What is large is the sky, the earth, the sea, the...

A fine abstract expressionist paper construction by American artist Varujan Boghosian (1926-2020). Boghosian was born in New Britain, CT and after serving in the United States Navy, he attended Central Connecticut Teachers College and the Vesper George School of Art in Boston. In 1953, he had a Fulbright grant to paint in Italy, and from 1956 to 1959, he worked with Josef Albers, geometric abstractionist, at Yale University where he earned both his BFA and MFA. Boghosian became a professor of sculpture at Dartmouth College in New Hampshire, and became primarily known for his assemblages in which he uses a variety of incongruous objects such as parts of weathered barn doors, antique dolls' heads, old leather, marbles, and ping-pong balls. This construction consists of a cut-out of a horse, a celestial map, several small animal figures, with a yellow brick wall paper background, monogrammed lower right “VB,” signed, dated 2002, and titled on verso “The Great...

Original work by Susan Goldsmith. Susan Goldsmith (b. 1955, Los Angeles, CA) attended the California College of the Arts in Oakland, CA, where she completed a BFA in 1977 and an MFA...

Original work by Susan Goldsmith Susan Goldsmith (b. 1955, Los Angeles, CA) attended the California College of the Arts in Oakland, CA, where she completed a BFA in 1977 and an MFA ...

Full title: Origen del Deseo: Happy Rhythm 5 Mari Ito was born in Tokyo, Japan in 1980. She majored in Nihonga, Japanese-style painting made with traditional practices, techniques a...

Abstract piece on wood. Vibrant colors. About the Artist: Sylvie Perrin graduated from the National Fine Arts Academy of Lyon. She began her artistic career in the Netherlands ...

Abstract piece on canvas. Vibrant colors. About the Artist: Sylvie Perrin graduated from the National Fine Arts Academy of Lyon. She began her artistic career in the Netherland...

Madonna in mixed media. On wood. About the Artist: Sylvie Perrin graduated from the National Fine Arts Academy of Lyon. She began her artistic career in the Netherlands as an il...

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

Complete title: El Origen del Deseo - Estoy Dentro de Alegría (The Origin of Desire - I am Inside of Happiness) Mari Ito was born in Tokyo, Japan in 1980. She majored in Nihonga, ...

Jane S. Parkes Born in New York City to an economist father, and a culture loving mother, Jane gravitated to art along with her three siblings. All through school she was exposed to inspiring teachers and in 1980 graduated from New England School of Art and Design where she studied graphic Design. Drawn more to the craft of making art than to the commercial side, Jane worked making architectural models for Ben Thompson in Boston and Peter Marino in New York. After raising two boys in New York, Jane began working full time as an artist in New York and in Swans Island...

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 ...

Encaustic work of art by an acclaimed Maine artist Sara Crisp. Sara Crisp draws inspiration from the delicate balance between the natural and the human-made worlds. Through masterf...

Encaustic work of art by an acclaimed Maine artist Sara Crisp. Sara Crisp draws inspiration from the delicate balance between the natural and the human-ma...

Encaustic work of art by an acclaimed Maine artist Sara Crisp. Sara Crisp draws inspiration from the delicate balance between the natural and the human-ma...

Encaustic work of art by an acclaimed Maine artist Sara Crisp. Sara Crisp draws inspiration from the delicate balance between the natural and the human-ma...

Encaustic work of art by an acclaimed Maine artist Sara Crisp. Sara Crisp draws inspiration from the delicate balance between the natural and the human-ma...

Encaustic work of art by an acclaimed Maine artist Sara Crisp. Sara Crisp draws inspiration from the delicate balance between the natural and the human-made worlds. Through masterf...