Burton Kramer

TTH4E - colourful, modernist, playful abstract shapes, acrylic on aluminum

2020

Inspired by the famed modernists like Jack Bush, Aron Hill creates playful, contemporary artwork. The colours are bold—hot pink, red, yellow, sea blue with black accented by a circle...

Taking caricature portraiture to a new level, Viktor Mitic has portrayed 'Marc' in the guise of a zombified 1950s radio announcer. The bright blocks of co...

Modernist Burton Kramer’s colourful acrylic paintings are unique geometric compositions that express musical themes. This piece, one of a series, is a striking combination of turquoi...

Art and nature collide in this ethereal abstract painting—one of a series created en plein air by Viktor Mitic. The ‘rain paintings’ are evocative landscapes rendered in expressive b...

Created in dynamic layers of molten red, this Storm Surge tondo by Shayne Dark envelops the viewer. The rich, almost baroque quality of the sculpted surface is enhanced by its metall...

Created in dynamic layers of glossy cobalt, this Storm Surge tondo by Shayne Dark envelops the viewer. Its turbulent and mesmerizing surface swirls and flows like fast moving water....

Kinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...

Kinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...

Kinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...

Kinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...

Kinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...

"The Ancient Testament" Pop Art Painting 55" x 79" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC...