Helmut Patek

Gouache by Helmut Patek "Komposition 89 / II"

1989

Watercolor on paper, 1986, by Heinrich Neuy ( 1911 - 2003 ) Monogramed, titled and dated lower right. Framed. Measurements: sheet 9.84 x 8.27 in ( 25 x 21 cm ), framed: 14.57 x 12.8...

Acrylic painting on canvas, 2019. Titled, dated and signed on the back. Framed. The artwork comes directly from the artist's studio. Dimensions: Height 29.06 in ( 73,8 cm ), Width 29...

Acrylic painting on canvas, 2019. Signed, titled, dated verso. Framed. The artwork comes directly from the artist's studio. Dimensions: Height 28.9 in ( 73,4 cm ), Width 29.06 in ( 73,8 cm ), Depth 1.34 in ( 3,4 cm ) Claudia Fauth was born 1962 in Berlin. Lives and works as a singer, songwriter, visual and acoustic artist. Worked many years as an art dealer. Realizes extensive art projects around the world including the natural environment and make the unknown experienceable. She understands herself as a Quantum Philosopher. She is known for her abstract works, she often works with elements of sacred geometry. Her works are in public collections in Austria, Belgium, Canada, England, Germany, Italy, France, Japan, Mexico, Switzerland, Poland, Spain and the US. Selection of exhibitions: ° 2014 Von der Avantgarde zur Moderne, Berlin The Original Miami Beach Antique...

Acrylic painting on canvas, 2020. Titled, dated and signed on the back. Framed. The artwork comes directly from the artist's studio. Dimensions: Height 20.98 in ( 53,3 cm ), Width 16...

Acrylic painting on canvas, 2021. Titled, dated and signed on the back. Ready to hang. The artwork comes directly from the artist's studio. Dimensions: Height 59.06 in ( 150 cm ), Wi...

Acrylic paint on raw canvas, 2018. Signed, titled and dated verso. Ready to hang. It comes directly from the studio of the artist. Height 23.62 in ( 60 cm ), Width 31.5 in ( 80 cm ), Depth 1.42 in ( 3,6 cm ) Matrix In Creation belongs to a line of more than 20 paintings, inspired by sacred geometry, done with a kaleidoscope effect. Claudia Fauth was born 1962 in Berlin. Lives and works as a singer, songwriter, visual and acoustic artist. Worked many years as an art dealer. Realizes extensive art projects around the world including the natural environment and make the unknown experienceable. She understands herself as a Quantum Philosopher. She is known for her abstract works, she often works with elements of sacred geometry. Her works are in public collections in Austria, Belgium, Canada, England, Germany, Italy, France, Japan, Mexico, Switzerland, Poland, Spain and the US. Selection of exhibitions: ° 2014 Von der Avantgarde zur Moderne, Berlin The Original Miami Beach Antique...

Gouache on cold pressed paper. Each panel 12 x 6in.

Vision I by Cheryl R. Riley Metallic abstract geometric symbols, purple, yellow, gray, gold Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporar...

Time Travel Black & Gold Glyphs I by Cheryl R. Riley Metallic abstract geometric symbols Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporary F...

Throughout her career as a painter Patty Fabricant has pivoted back and forth between figurative and abstract work. Each time she makes the switch it feels abrupt, and yet increasing...

Throughout her career as a painter Patty Fabricant has pivoted back and forth between figurative and abstract work. Each time she makes the switch it feels abrupt, and yet increasing...

Gouache and graphite on handmade paper. 18 x 12 inches unframed, 23.25 x 17.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow