Anya Spielman

Honey Cream Violet Ink (Abstract Painting)

2019

Candy (Abstract painting) Oil on canvas - Unframed Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving between...

Candy (Abstract painting) Oil on canvas - Unframed Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving between...

Crayon on vellum - Unframed In a broader sense, Tilman’s works on paper function as an archive of the artist’s ideas and observations. The visual information derives from various so...

Ink, watercolor, gouache on Arches watercolor paper - Unframed. Image size: 12” x 8.25” - 30,5 x 21 cm. She layers paint in gestural, horizontal swaths from left to right, stacking...

60"x48" abstract composition in golden yellow with lavender, violet and light cream. Large gestural movements overlay one and other on the on canvas. The painting surface incorporates impasto brushwork and poured paint to give an active composition. This painting is signed on reverse by the artist, Debra Drexler. Debra Drexler maintains studios in both New York and Oahu, Hawaii, and her work is informed by her unique bi-coastal experience. In her luminous, large-scale abstract paintings, she brings the transcendent experience of the Hawaiian landscape to a New York audience. Through her New York based studio and curatorial practices, she is also deeply engaged in critical conversation surrounding new abstraction. She states “Abstraction takes us to a state of timelessness that is primal in its humanity, disconnecting us momentarily from the mediated “now” of our electronic devices, and connecting us to a “now” that gives us a glimpse of the infinite. While our insistent digital projections can take us away from both our animal and spiritual nature, abstract painting reminds us again of what it means to be human. The corporality of the paint mirrors the flesh of the body and transports us into the timeless.” Debra Drexler's paintings are informed both by participating in the contemporary resurgence of abstraction coming out of New York, and by living in the Post Colonial Pacific for close to three decades. In the 21st century, much of our experience is mediated through the screens of our devices. In contrast, the making and viewing of paintings remains a direct, engaging experience in Drexler's paintings. She aims to take us to a state of timelessness that is primal in its humanity, disconnecting us momentarily from the mediated “now” of our electronic devices, and connecting us to a “now” that gives us a glimpse of the infinite. As a colorist, Debra Drexler provokes unexpected color relationships and creates spatial contradictions that come from those interactions. Some of her color choices reference the post digital experience with its highly saturated synthetic color. The luminosity and saturation also mirror the unique quality of light and tropical color interactions in Hawai’i, where Drexler also lives. Her work is driven by an athletic painting...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acrylic ...

Sarah Irvin Tilt in That Direction, 2019 ink on Yupo paper 34 x 53 1/2in. (irv074) Sarah Irvin creates dynamic, rich images that contain an activated freshness while ruminating on t...

Primary Process, Violet, Nancy Hillis. Red violet, blue violet, white, and gold abstract expressionist large scale acrylic and mixed media painting on paper. 56.5" x 42". Gestural expression and impasto brushstrokes. Contemporary abstract painting that is predominantly violet with washes of white. Large scale contemporary painting...