Nataliya Hines

Gilded Echo

2019

NICE FALL 2013 Collage su cartoncino CM 70x50 Con la mano e con fuoco, sul metallo. Con la mano e col pensiero sulla carta. Il disegno è inscindibile dalla scultura e non può essere meno importante. Alex Corno nei sui disegni su carta arriva all’estrema sintesi della sua ricerca artistica. Gli elementi costitutivi della sua Scultura sono riportati in bi-dimensione in rapidi e istintivi segni/pennellate che riescono a testimoniare il suo rapporto con lo Spazio. Elementi di natura e forma...

Maggie laporte Banks Tyger Tyger, Burning Bright. Original Contemporary Painting Acrylic and raw pigment from india on art board. Size: H 40cm x W 50cm x D 0.50cm. Sold Unframed Insi...

Mary Scott Oscillation (III) Original Abstract Painting, Abstract, Affordable Contemporary Art Acrylic Paint, Pencil and Gold Leaf (Silver Finish) on Board ...

This work depicts a modern Mr. X, following the artists personal concepts about portraiture. He uses bold color and thick brushstrokes to successfully obtain the 3-dimensional painting. The artist aims to inspire to viewer to wake up from “unconscious automations” caused by capitalism and technology in our society. ABOUT THE ARTIST - Massimo Damico...

Abstract, folk art style, three dimensional wall sculpture in striped patterns of sky blue, black, white and grey "Bumble", made by Susan Stover in 2020 Cardboard, latex, acrylic, v...

An original signed framed abstract expressionist painting by mid-century modern Chicago woman artist, Margo Hoff (1910-2008), "Stone Quarry" was created using acrylic, crayon and paper collage on board in shades of purple, blue, brown, white and black. Presented in a custom frame, outer dimensions measure 48 ½ x 40 ½ x 1 ¾ inches. Image size is 48 x 40 inches. Provenance: Estate of the artist, Margo Hoff About the Artist: A prolific artist, Margo Hoff’s exquisite style evolved throughout her career yet was always rooted in the events, people, and places in her life. The human experience was her soul focus, expressed through her eyes alone. Born in 1910 in Tulsa, Oklahoma, Hoff began creating white-clay animals at a young age, giving them to her friends and family. At eleven she contracted typhoid fever and was bedridden for a summer. During her convalescence, she drew and made cutouts, and it was during this time that her bold, artistic imagination came alive. She began formal art training in high school and continued her education at the University of Oklahoma, Tulsa. In 1933 she moved to Chicago and attended the National Academy of Art and the School of the Art Institute of Chicago. Between 1933 and 1960—her Chicago years—Hoff’s works was deeply rooted in a figurative, regionalist style. She often used elements of magical realism, and many of her paintings have dreamlike qualities. As a child she learned about color by grinding down rocks, plants, and berries. Her color pallet during the Chicago years is indicative of her early-life color experimentation as she consistently used warm, earth tones in her work. Hoff was a born adventurer and traveled extensively. She lived, worked, taught, and painted in Europe, Mexico, Beirut, Lebanon, Uganda, Brazil, and China. She also showed at the Denver Art Museum’s Annual Western Exhibitions in 1952-54, 56, and 57. In 1957 she showed along side Colorado modernist Vance Kirkland at the Denver Art Museum’s exhibition, Man's Conquest of Space. What was once a focus on the representational, her work began to change after 1957 when she saw Sputnik in its orbit around Earth. At that moment, feet firmly placed on the ground, she was able to imagine herself in space, looking down from the cosmos, and what she saw was an abstracted world. She then had the opportunity to peer into an electron microscope where once again she was looking down into what seemed to be a realm of pure abstraction. These two events profoundly changed her perspective and she began to move from figural painting to abstract, geometric collage. In 1960, Hoff moved to New York City and she began creating collages. Placing the canvas on the ground, and working from all sides, she used strips of painted paper and tissue—and later painted pieces of canvas—glued onto the canvas surface, building layer upon layer, shape against shape, “action of color next to stillness of color.” She believed these simplified, abstracted forms held the spirit of the subject in the same way poetry reduces words to their essence. These pieces range from aerial cityscapes, to dancers in motions, to flora...