Christine Hayman

Territory IV

"A Message From Home No. 2" is an unframed oil on canvas painting by Joseph Adolphe, depicting an abstracted landscape with a floating sheet. The tension of the wrinkled, disheveled ...

This piece is framed. Unframed dimensions are 24 x 72 inches. This piece is a triptych of three 24 x 24 inch canvases framed together to create one whole piece. Marshall Noice passionately admires western landscapes, and conveys that love through vibrant colors that illuminate his compositions. Residents of New Mexico, Colorado, Wyoming, and Noice’s home state of Montana may relate to the magnificent landscape he’s portraying in his luscious works. While painting is a natural form of expression for Noice, he began his artistic career as a photographer. In fact, he earned his living taking pictures for 23 years. Some of the work was figurative, but most of it was landscape photography. During the summer of 1977 he had the extreme privilege of being Ansel Adams’ workshop assistant, an experience that profoundly affected his life. It happened at an auspicious time when Noice was just getting into photography. “I learned how to see light from Ansel Adams,” he explains. “Adams was a great teacher. I really learned how to recognize landscapes through photography. I feel that my experience in photography has helped me to develop a heightened sensibility toward landscapes.” Throughout the two decades Noice worked as a photographer, he painted landscapes. Painting was done for the sheer enjoyment of it and not for the thought of future sales. When a new work was completed, he put it into a storage shed...

"Toro Blanco No. 2" is an unframed oil on canvas painting by Joseph Adolphe, depicting an abstracted white bull set in an expressive landscape. As the animal gazes directly at the vi...

This piece is unframed. Born December 12, 1965 in New York City, Michael's father owned a fine art moving business and his mother was a playright/director. They were surrounded by a diverse crowd of artists,such as filmmaker Gary Galsworth and painter Charles Mingus Jr.. Michael’s family moved across the USA, living in Madison and Santa Fe, and finally settled on Whidbey Island in Washington State. He spent his teenage years clearing a six acre plot of land with his family and building a seven sided geodesic dome house. Michael attended The Evergreen State College from 1983-87, studying film and photography. After graduation he took his camera and, over a ten year period, traveled extensively throughout Europe. While travelling he lived with, performed with, and documented circus performers and their communities. With no formal education as a painter, Michael draws on his eclectic past for inspiration - strongly influenced by his travels throughout Spain and France and rich colors and textures marked by time. Michael moved to St. Louis in 2001, where he works as a full time artist and raises his daughter and twin boys - a lifetime dream. His artwork is collected by individuals and corporations worldwide. "My paintings are meditative studies done with rich colors and bold graphic compositions - I often incorporate circles, grids and stripes. The universality and appeal of this symbology pulls the viewer in and holds them there to explore the subtle details. I try to create work that both captivates and calms. I work with abstractions because I want to put forth something universal that can be open to interpretations that are unique to each individual and can continue to evolve over time. A common theme in my painting is the relationship between rigid linear form and the organic flow of nature, order and disorder. I feel this is reflective in many ways of our society and peoples’ longing for something more than the sterility of technology in our modern lives. I believe inclusion of these two elements creates a certain universal harmony in many of my paintings. My pieces are also about the act of painting itself. I explore the physical nature of my materials and push to use unique and original methods of applying them. Many times there is strong evidence of my physical relationship to the canvas as I paint - using my body motion as a natural pendulum and the random arcs of my markings. Other works are done on wood panels that I coat with a plaster mixture and carve into before it sets. The geometrical markings bring to mind old nautical maps...

This piece is framed. The price reflects the framed piece. Unframed dimensions: 46 x 72 inches. For Dugar, nature is sacred. Dugar mimics this belief in her art by creating a sacred...

"Evening Tide" is an oil on canvas painting by Eric Abrecht, depicting an abstracted coastal landscape with trees and heavy clouds. This piece is definitive of Abrecht's gestural and...

Oil on canvas. Signed, titled, and dated on verso. 36.25 x 42 in. 37.25 x 43.25 in. (framed) Custom framed in maple. Provenance Marcia Wood Gallery, Atlanta Yoshishige Furukawa...

Victor Wang's highly textured paintings involve thick layers of paint over collaged images from the Tang Dynasty. In "Let Her Go", the foreground shows a modern female figure sitting upon the side of a boat which gives the impression she is wearing wings and about to take flight. Upon closer look, there are various scenes taking place around her in the water - warriors with knives drawn, a jeep in pursuit of some unseen enemy, a cauldron boiling over. Influence by the Renaissance Masters, Titian and Rembrandt for their glazing and layering techniques respectively, the artist builds the surface using heavy paint, swirling and mixing the color on the canvas. The end result is a poetic and emotionally powerful representation of the human form. Victor Wang Let Her Go oil on canvas 48h x 60w in 121.92h x 152.40w cm VWG011 My path through life has been adventurous, exciting, and dream-like. My experience of settling into America in search of better opportunities has been both challenging and inspiring. I use the human face as a vehicle to paint human experiences - worry and wonder, sadness and pleasure - which reflect the emotional stage directly tied to my immigration experiences. I grew up amongst the sunflower fields in northern China. In my childhood years, I played under the bright, yellow sunflowers with my brothers everyday. China’s Cultural Revolution played an important part in my life. During that time, sunflowers were used as political allegories to depict how citizens of China should follow Mao who represented the sun, since sunflowers follow the sun’s movements. People eventually inferred the deception that this symbol masked. After graduating from high school, I was sent to a labor camp in the country for ‘reeducation’ during China’s Cultural Revolution. There, I was subject to grueling farm work. Often, I worked in corn and sunflower fields from sunrise to sunset. Thus, for me, sunflowers evoke both personal joy and sadness. Therefore, to deliver my complex feelings, I use sunflowers as a metaphor to connote my background and emotional stage. My incorporation of collages of figures from China’s Tang Dynasty represents my Chinese heritage and is a constant reminder of where I came from. The texture and earthiness on the canvas’s surface are inspired by the texture of the soil on the farm where I worked in China. Although I often gain great pleasure from the process of painting, it is most important to unfold expressively those feelings within myself. Wang belongs to a generation of immigrant painters from China, whose artistic background was defined by socialist realism but took advantage of their skills and broke away from that tradition to create new subjects in the U.S. “When I was a student during Cultural Revolution, Soviet realism art was among the dominant source of influence and it grabbed us like lightening...

Sharp edged and sassy from Sax Berlin. A bang on trend, urban street painting with an undercurrent of the darkness of the city. Oil and acrylic on canvas

Flore People Eater 60 x 60 inches Acrylic on canvas Unique work Signed by artist Unframed Part of the current exhibition, Urban Cubism, at Art Angels Gallery street art pop art Keith Hering...

Fighting on horseback -Modern - Alfonso Pragliola Italia 2014 - Oil on canvas cm.60x40. Laquered wooden frame.

Titled "Flowers Save Us," this abstract oil painting on linen canvas is a creation of Christine Morin. The canvas is stretched on a wooden frame but not framed. French artist, Chris...