Jan Pieter Fokkens

"NGC-3201," Acrylic on Canvas, 2019

2019

Chicago-based artist Jan Pieter Fokkens uses his work as a means of processing the incomprehensible. Navigating the relationship between algorithmic abstraction and the tangible qual...

The colorful paintings of Jan Pieter Fokkens transport us to distant worlds beyond our comprehension. Within seemingly infinite networks of lines, dots, and crosses, he decodes the r...

The colorful paintings of Jan Pieter Fokkens transport us to distant worlds beyond our comprehension. Within seemingly infinite networks of lines, dots, and crosses, he decodes the r...

The colorful paintings of Jan Pieter Fokkens transport us to distant worlds beyond our comprehension. Within seemingly infinite networks of lines, dots, and crosses, he decodes the r...

The colorful paintings of Jan Pieter Fokkens transport us to distant worlds beyond our comprehension. Within his seemingly infinite networks of lines, dots, and crosses, he decodes t...

The colorful paintings of Jan Pieter Fokkens transport us to distant worlds beyond our comprehension. Within seemingly infinite networks of lines, dots, and crosses, he decodes the r...

"Fifty Shades of Blue" Series Contemporary & abstract in style, this triptych is made up of (3) 48" x 12" gallery-wrapped canvases. This one-of-a-kind, uniquely textured minimalisti...

The Storm Is Here, Original Abstract Painting, 2020 8.5" x 11" (HxW) Alcohol Ink on Yupo Paper An intense abstract composition reminiscent of a landscape painting. There is a clear ...

This Dirt, I Came From - Original Abstract Ink Painting, 2019 9" x 12" (HxW) Alcohol Ink and Posca Pen on Yupo Paper A cosmic explosion, or maybe the abstracted petals of a flower, ...

The balance between structure and free thought, order and chaos, dreamlike and tension. Intuitively painted and structurally executed with acrylic, oil stick, ink, spray paint and p...

Antonia's Line, named after the Dutch film written and directed by Marleen Gorris. The film has been described as a "feminist fairy tale," tells the story of the independent Antonia ...

This is a beautiful contemporary Chinese ink painting by Wu Lan-Chiann. This piece uses a very masterful, precise yet delicate style of the Chinese ink technique known as "gong bi", as well as expressive style. The quality of brush strokes is tremendously important and has to be strong and controlled, yet dynamic, fluid and delicate. You can see the fine detail of the embroidery on the blanket and pillowcase, as well the luminous light from the fireflies evoking a serenity and poetic beauty. The thematic use of light in her various paintings: pure unpainted nothingness on the paper fading into color, glimmers of color symbolizing light, and various recurring use of light - are metaphors for human resilience, and for the artist, "creates a sense of warmth and safety, the strength and hope within." "Before the Storm" a painting by Ms Wu, was published on “Six Asian American Artists: Our Own Words - Powerful images and quotes from contemporary Asian Pacific American artists" in the collection of The Nelson-Atkins Museum of Art. Ink, pigment on paper Signed by artist, with one seal 31 x 27 in. (79 x 68.5 cm) Subject to availability Inquire about availability of other paintings. Buyer protection provided by 1stdibs. In 2010, the Museum of Fine Arts, Boston, curated an exhibition "Fresh Ink" that explored the landscape of contemporary Chinese ink paintings. Christie's and Sotheby's soon held private sales in recognition of this movement of what is essentially an ancient Chinese ink method, explored in new ways by its artists. One of the artists presented in Christie's Chinese ink events is Wu Lan-Chiann, a rare female painter recognized in the Chinese ink and brush method. One of her leaves ink paintings was added to the permanent collection of Kansas City’s Nelson-Atkins Museum of Art, a museum renowned for its extensive Asian art holdings. (Image provided above) ABOUT THE ARTIST: Artist Wu Lan-Chiann studied painting with Lingnan School master Ou Haonian at the Chinese Culture University in Taipei and with American painter Arnold Mesches...

Dieter Roth (1930-1998) was born in Hannover, Germany and grew up in Zürich, Switzerland. He started an apprenticeship as an advertising graphic designer and took private lessons in ...

By developing a geometry between line and the spaces in between in their work, the abstract paintings of Tayo Heuser create a point of departure for the mind into a spiritual consci...

78” x 42” ink and watercolor on paper, signed on reverse by the artist, Jesse Lambert. The abstract ground of washes of green, blue, orange and rose tones over white create an active field of color. The imagery of hummingbirds and bird feeders amongst graphic representation of trees, leaves and branches are created with defined black inkwork lines. Pattern and repetition with the vertical tree trunks, are intersected with cross sections of lumber with beautiful wood grain. This large scale painting is featured in "Shelter, Scatter, Feed" a solo show of new works by Jesse Lambert. Front Room Gallery is proud to present a solo exhibition of new works on paper by Jesse Lambert, titled, "Shelter, Scatter, Feed". This is Jesse Lambert’s second solo show at Front Room Gallery. In this exhibition, Lambert continues to explore themes of shelter, safety, and the passing of time. His ink and watercolor paintings on paper depict abandoned scenes in an abstracted rural space. In previous works, Lambert combined the spaces of domesticity and the natural world, with an occasional appearance of the human figure. His new work contemplates the new reality under COVID-19, and continues to evoke the universal need for shelter and protection. In these paintings Lambert imagines the world abandoned by human inhabitants, reclaimed by nature- as if the world has moved on, without us. In this series, 
Lambert’s familiar color washes have taken on a more natural hue. Lambert presents a grouping of medium sized paintings which explore the theme of birdhouses as a metaphor for human needs. The birdhouses are falling apart or incomplete, dysfunctional structures failing to meet their stated function. In his larger paintings, remnants of built structures of unknown use are scattered across a forested setting. Strips or planks of wood are nailed to tree trunks. A broken ladder promises ascent, but falls apart. Fragments of wood and string hint at former use, yet all vestiges of functionality have disappeared. Abandoned bird feeders swing precariously. Within the chaos of darting birds, falling leaves and flowers, and remnants of built space, a pattern almost emerges. These paintings emote a feeling of webbed interconnectedness that reveals the beauty of decayed things, and an allure of the poignancy of impermanence. In a series of smaller black and white drawings...

Original 1933 drawing, "Pinto" by New Mexico modernist, Hilaire Hiler (1898-1966), black and white line drawing of a Native American wearing a feather headdress on horseback. Ink on vellum, signed lower right. Custom framing is available. Expedited and international shipping is available - please contact us for a quote. About the Artist: Hilaire Hiler was born in St. Paul, Minnesota, and was raised in Providence, Rhode Island. Hiler took art classes as a child at the Rhode Island School of Design. When he was older, Hiler studied at the Pennsylvania Academy of the Fine Arts, the Pennsylvania School of Industrial Art, Wharton School of Finance and Commerce, and William Server’s studio. He also studied at the University of Pennsylvania, the University of Denver, Golden State University, and National College in Ontario, Canada. He continued on to France, studying at the University of Paris in 1919. Hiler lived in Paris from 1919-1934, supporting himself as a jazz musician and a piano player for The Jockey Club. Hiler moved back to America in 1934, settling in San Francisco. He was commissioned by the Works Progress Administration to paint murals in the Aquatic Park...

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

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...

Black & Gold Glyphs II by Cheryl R. Riley Metallic abstract geometric symbols Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporary Feminist / G...

Geometric and serene in its complexity - abstract contemporary painting created with impeccable attention to detail by deconstructing original watercolors—based largely on landscape,...

Geometric and serene in its complexity - abstract contemporary painting created with impeccable attention to detail by deconstructing original watercolors—based largely on landscape,...

Geometric and serene in its complexity - abstract contemporary painting created with impeccable attention to detail by deconstructing original watercolors—based largely on landscape,...