Jean-Luc Veret

French Contemporary Abstract Art by J.-L. Veret - Hors Champs

2021

Mahesh Sharma’s Nar-Nari series explores the dynamic relationship between male and female energies through an abstract, contemporary lens. Crafted with cut handmade paper pasted onto...

Santa Barbara California Blue Yellow Green Modern Abstract Landscape Painting Art measures 30 x 22 inches Margaret Francis received her Degree in Fine Art from Winchester Art...

Living in temples and the countryside with craftsman communities in Japan for over a decade, Majio was deeply influenced aesthetically and by the content of Japanese culture. Her cra...

OYV-19 is part of Eric Mack's ongoing body of work utilizing multi-media, complex compositions, and a grid centered around urban design. Using a grid to create the framework of the painting, Mack has re-purposed an old Lenny Kravitz album cover as the structure of the piece. On the edges of the piece you can see a complex edge consisting of a faux leather album cover, nylon mesh, and torn paper. As imagery, Mack has chosen musical notes, tape measure, and other music composition elements through Zerox copy adhered by matte medium to the surface. Mack then creates his own color to further tweak and personalize the piece. Eric Mack (b.1976, Charleston) creates mathematically based renderings with a distinct post-modern twist. Works are informed with super imposed grids, patterns, and portals. Layered surfaces are created with paint, found objects, natural fibers, and synthetic substrates that explore the systems of our visual world. His most recent show “Charting the Terrain” is on view now at the California African American Museum in Los Angeles was covered by the Los Angeles Times, KCRW, and LALA Magazine. His last solo exhibition was titled "Impossible Architectures" at The University of North Carolina at Chapel Hill in 2017. Recent group shows include "Abstract Mind" at the Czong Institute of Contemporary Art, South Korea, "Small Works 2017 at Trestle Gallery, Brooklyn, "Checkered History", Outpost Artist Resources, Brooklyn, N.Y. 2015; Collections include High Museum Atlanta, Ing Investments, Hartsfield Jackson International Airport - Atlanta + Atlanta Gas & Light Co. Pepsi Cola, Tate Properties, Heath Gallery, Harold Dawson Properties, Turner Field/Atlanta Braves...

A striking composition of deep emerald greens, radiant gold, and rich purple, this dynamic spin painting captivates with its bold movement and depth. It is divided into 2 different s...

Bryan Ryley: Rigorous Inquiry at the Intersection of Material and Structure Bryan Ryley, a significant figure in contemporary Canadian abstraction, operates from his studio in Verno...

Bryan Ryley: Rigorous Inquiry at the Intersection of Material and Structure Bryan Ryley, a significant figure in contemporary Canadian abstraction, operates from his studio in Verno...

Bryan Ryley: Rigorous Inquiry at the Intersection of Material and Structure Bryan Ryley, a significant figure in contemporary Canadian abstraction, operates from his studio in Verno...

One piece made of a folder with 50 acrylic paintings on paper, with measures 29.5 x 20 cm each paper.

“Untitled #34” was created by Sam Gilliam, one of the great innovators in postwar American painting. It is dated and signed on the lower front. The thick handmade paper is rich with folds and texture and the colors lively. In addition to Acrylic paint on the surface there appears to be imbedded color in the handmade paper which has additional embossed accents. Unframed the piece measures 16 x 14. Provenance of Yaw Gallery, Birmingham, Michigan is on the verso along with the note that the Paper Surfaces in contact with this artwork are acid free. In the mid-1960s he emerged from the Washington D.C. scene with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. One profound manner was the sculpture aspect of the painting giving it a free flowing expression of pure color. In the latter half of the 1950s, Washington D.C. saw a flourishing of abstract art that emphasized the form-making capabilities of pure color. Known as The Washington Color School, the loosely affiliated group of abstract painters knew each other through various teaching experiences. The moniker has an uncertain origin but likely originated with the title of a 1965 exhibition at the Washington Gallery of Modern Art, "Washington Color Painters," curated by Gerald Nordland. The show exhibited the works of Kenneth Noland, Paul Reed, Morris Louis, Howard Mehring, Thomas Downing, and Gene Davis. Additionally, Leon Berkowitz...