Jean-Marc Boissy

Accumulation of Red Tiled Roofs or Brick Walls Oil Painting

This artwork is another meticulous painting of a gigantic Kasbah-like city. Paradoxically, although Jean-Marc Boissy paintings feature overcrowded worlds, the viewer is not distracte...

This artwork features one (or several ?) very long pipe entangled in spiral motifs, on top of a deep blue background gradienting to an almost white blue in the center of the canvas. ...

This artwork is almost at the intersection between geometrical art, optical art and surrealism. It features a number of what appears to be blue or t...

This semi-abstract artwork depicts a Provence landscape with white trees and black cypresses, and a hot red atmosphere. This piece is not framed. Marcel Demagny...

"Lush Fall Foliage" is a framed oil painting on canvas by Marshall Noice, depicting an abstracted copse of trees with red and pink leaves. The artist's use of intense color for the f...

"Ash, Shorham" is a framed oil painting on canvas by Marshall Noice, depicting an abstracted copse of trees on a hillside. The artist's use of intense, varying color for the foliage ...

A companion painting to this piece, TECHNOLOGY OF DIRT is owned by the Knoxville Museum of Art. The painting "TECHNOLOGY OF DIRT & AIR" was inspired by an image glanced as I passed by a florist shop window. Inside the florist show was a vibrant floral arrangement overflowing with roses and foliage. On the surface of the window were reflections of architecture behind me and abstracted slivers of light and distorted shapes of things reflected though hardly recognizable. I snapped a few photographs at the time. Several months later, I returned to those images and was intrigued at how the flowers in the image seemed to be made out of crystal and how the reflections on the window "interrupted" the ability to easily make out the forms in the photograph. I was intrigued by the complexity of the image and how recognizable elements emerged and then faded into abstraction. As I worked on this painting, I wanted it to be as if it was coming into crisp focus, while also becoming a complicated tapestry of shapes and colors. I have made six paintings in this series thus far. Jered Sprecher is a visual artist who was born in Lincoln, Nebraska (1976). He received his M.F.A. from the University of Iowa and his B.A. from Concordia University in Nebraska. He has taught at Princeton University and Cornell University. Mr. Sprecher currently lives and works in Knoxville, Tennessee, where he is an assistant professor at the University of Tennessee. Jered Sprecher’s studio practice explores the “handwriting” of humankind. The vocabulary that he draws from is focused on the vast array of marks and images in one’s surroundings. From this vocabulary he samples visual motifs and imports them into his paintings and drawings. These works continually focus on remnants and fragments that are captured in the midst of change, then edited and fused together in the space of painting. These images are pregnant with a longing to communicate. The success and failure of these “messages in a bottle” are the basis of his work. Mr. Sprecher has had solo exhibitions at Wendy Cooper Gallery, Chicago; Jeff Bailey Gallery, New York; the Art Gallery of Knoxville; The Cress Gallery-UTC, Chattanooga; and Steven Zevitas Gallery, Boston. His work has also been included in group exhibitions at The Drawing Center, New York; Brooklyn Academy of Music (Next Next Art), New York; Cheekwood Museum of Art, Nashville; Des Moines Art Center; Urban Institute for Contemporary Art, Grand Rapids; Arthouse, Austin; Mark Moore Gallery...

The painting "CLOUD" by Libby Rosa blurs the distinction between abstraction and representation. And that rational/irrational alignment is only part of the ...