Amy Smith

Blue Dream - acrylic on canvas

2022

Jacqueline Jandrell is an emerging artist who is South African by birth. She immigrated to the UK with her family after the loss of her father and grandfather. Becoming an immigrant affects everyone in different ways, and while young, this change of culture, country, and separation helped shape Jandrell as an artist. As she does not identify as British or as South African, this "lack" of cultural identity tends to manifest in her paintings. Her paintings are abstract, visceral and intuitive, as she is drawn to the flexibility and ambiguity of abstraction. Painting is a form of honesty for Jandrell, it allows her to relax and feel centered, almost becoming a style of meditation. "Spectrum - Array Diptych...

Amy Smith is a self-educated contemporary artist. Born in New Jersey, she moved to Los Angeles where she found inspiration, mentors, and support in the Street Art community. In her ...

Amy Smith is a self-educated contemporary artist. Born in New Jersey, she moved to Los Angeles where she found inspiration, mentors, and support in the Street Art community. In her ...

Amy Smith is a self-educated contemporary artist. Born in New Jersey, she moved to Los Angeles where she found inspiration, mentors, and support in the Street Art community. In her ...

A pop piece depicting Jean-Michel Basquiat with impasto painting, spray paint and silkscreening. We are drawn to the movement, as the artist is able to engage his viewer with contras...

A pop piece depicting Muhammed Ali with Chanel. With impasto painting, and quick brushwork we are drawn to the movement, as the artist is able to engage his viewer with contrasting h...

A pop piece depicting a 100 Dollar Bill featuring Benjamin Franklin. With impasto painting, spray paint and silkscreening, we are drawn to the movement, as the artist is able to eng...

Yannima Tommy Watson is a Pitjantjatjara artist born around the 1930s, in the bush some 44km west of the small isolated community of Irrunytju. Not yet very well known to the French public, despite his participation in the architectural project of the Musée du Quai Branly, Tommy Watson is nevertheless often considered the greatest living Aboriginal artist. Like many aborigines of his generation, he lived a traditional, nomadic or semi-nomadic life before his contact with Western civilization; then he will occupy the only jobs that the Aborigines find: herdsmen (until Yuendumu), laborers for the construction of infrastructures in the desert. Throughout this period he became familiar with his "country", a harsh region, and deepened his knowledge, both profane and sacred, relating to Dreams and Dreamtimes, to the connections between sacred sites and the Ancestors. He will even work in Papunya, where the artistic movement started. But the Pijantjarra are intransigent with tradition…no question at this time of revealing the motives and the secret stories. The North of South Australia, the region where he is from, was touched by the pictorial movement only at the very beginning of the 2000s. In 2001, Tommy began his career as an artist in Irrunytju (Wingellina). He is a young artist… He learns by observing other painters and draws on the experiences of a long life and on the exceptional knowledge he has stored up. But quickly he will find his way, a radically new style where color plays a major role. Very quickly, the iconography now well known by the artists of Yuendumu, or the Western Desert, Balgo or Lajamanu disappeared. The symbols are no longer there. As Rover Thomas, Emily Kame or Paddy Bedford had done before him, this is a real artistic revolution. For Tommy, it is not a question of describing his Dream (Caterpillar), the routes taken by the Ancestors. He concentrates on a site, a story, sometimes very profane, the memory of a meeting, of a hunting party, tries to condense his memories, the information of which he is the depositary, to add a poetic touch to it, sometimes melancholy, and this gives a painting with a very abstract aspect. It is a painting where the emotion is very present, undoubtedly less cerebral than the art of the neighbors of the north the Pintupi, like Ronnie Tjampitjinpa, George...