Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 8

Julia Lia Walter
Untitled

2020

About the Item

Print on polyvinyl Julia Lia Walter combines analog and digital painting. She is particularly interested in the junctures of digital and analogous spatial illusion and the transition of the temporal structures of the two media. Walter´s work explore and develop painting within and beyond the border of analogue space. The spatial illusions created by Julia Lia Walter’s digital paintings, come in and out of focus, like driving through a thick fog, or watching the dust settle around you. Berlin based artist Julia Lia Walter studied Fine Arts at the Academy of Arts in Mainz and later at the University of the Arts in Berlin with Pia Fries, where she graduated 2014. She participated in numerous exhibitions in museums and galleries in Europe, North America and East Asia. She has received several awards and scholarships such as the DAAD postgraduate Scholarship Tokyo and the Emy-Roeder Preis 2017.
  • Creator:
  • Creation Year:
    2020
  • Dimensions:
    Height: 39 in (99.06 cm)Width: 59 in (149.86 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Montreal, CA
  • Reference Number:
    1stDibs: LU4767102622
More From This SellerView All
  • Untitled
    By Julia Lia Walter
    Located in Montreal, Quebec
    Print on polyvinyl Julia Lia Walter combines analog and digital painting. She is particularly interested in the junctures of digital and analogous spatial illusion and the transitio...
    Category

    2010s Abstract Abstract Paintings

    Materials

    Digital

  • Untitled
    By Julia Lia Walter
    Located in Montreal, Quebec
    Print on polyvinyl Julia Lia Walter combines analog and digital painting. She is particularly interested in the junctures of digital and analogous spatial illusion and the transitio...
    Category

    2010s Abstract Abstract Paintings

    Materials

    Digital

  • Hand to Hand
    By Judith Berry
    Located in Montreal, Quebec
    The themes visited in this show stem from a desire to extend the vocabulary of my painting while forming a metaphor for the chaos of contemporary life. The title, Escalade, has differing and complimentary functions in English and French. Continuing to paint, over a lengthening career, the medium poses more questions than answers. The title is a reference to my attempt to overcome these difficulties through the expansion of my painting language. The title also refers to the escalation of crises in the world at large. It is the larger picture in which I am a small person trying to make my way. In a concrete sense, the title also refers to a strategy I have taken in a number of these paintings. That is, to re-examine very small paintings...
    Category

    2010s Abstract Figurative Paintings

    Materials

    Canvas, Oil

  • Strangely Prescient
    By Jessica Houston
    Located in Montreal, Quebec
    Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper...
    Category

    2010s Abstract Abstract Paintings

    Materials

    Oil, Wood Panel

  • It’s So Quiet You Can Hear Them Breathing
    By Jessica Houston
    Located in Montreal, Quebec
    Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception. Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated. The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...
    Category

    2010s Abstract Abstract Paintings

    Materials

    Oil, Wood Panel

  • Where These Ways Crossed One Another
    By Jessica Houston
    Located in Montreal, Quebec
    Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception. Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated. The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...
    Category

    2010s Abstract Abstract Paintings

    Materials

    Oil, Wood Panel

You May Also Like
  • "Sullivan Mandalas"
    By John Welwyn Clark
    Located in Chicago, IL
    Suite of four giclee prints on canvas, hand painted by the artist, in homage to Architect Louis Sullivan's architectural details. Size: 48" x 48" Each painting is 24" x 24" About the artist: John Welwyn Clark pursues painting as a means to explore themes related to architecture and design. He is especially interested in work that unites the concerns of various disciplines. At a time when so much process is becoming computerized, he considers painting especially important because it deals directly with form, harmony, color and theme: freely, and independently of technical demands. Clark has won national design and design/build com­petitions. He has been recognized for his architectural work for a series of innovative projects, which recently includes master planning projects in China. He has designed a broad range of projects from large-scale municipal, institutional and educational facilities to high-rise, multi-use office...
    Category

    21st Century and Contemporary Abstract Abstract Paintings

    Materials

    Acrylic, Giclée

  • No. 5, Cubes (Abstract Cameraless Photograph in Black and Neutral, Framed)
    By Birgit Blyth
    Located in Hudson, NY
    Abstract digital print on black/white photo paper 31.5 x 26.5 inches in custom black stained wood frame with black 8 ply mat and AR non glare glass These energetic prints are digital copies of original handmade monoprints by photographer Birgit Blyth. Without the use of a camera, the artist produced the original chromoskedasic image by applying the photographic chemicals to black and white photo pager and exposing it to light. The rich black, faded gold, and crisp white tones are determined by the different chemicals used and the amount of time they are exposed to light. In this piece, Blyth painted gestural, intersecting lines to create a grid-like pattern that falls back in space. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Artist Resume: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine Photography...
    Category

    Early 2000s Abstract Abstract Photography

    Materials

    Photographic Paper, Digital

  • No. 4, Cubes (Abstract Cameraless Photograph in Earth Toned Palette, Framed)
    By Birgit Blyth
    Located in Hudson, NY
    Abstract digital print on black/white photo paper 25.5 x 21.5 inches in custom black stained wood frame with black 8 ply mat and AR non glare glass These energetic prints are digital copies of original handmade monoprints by Danish photographer Birgit Blyth. Without the use of a camera, the artist produced the original chromoskedasic image by painting with photographic chemicals directly onto black and white photo pager and exposing it to light. The rich black, faded gold, and crisp white tones are determined by the different chemicals used and the amount of time they are exposed to light. In this piece, Blyth painted gestural, intersecting lines to create a grid-like pattern that falls back in space. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Artist Resume: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine...
    Category

    Early 2000s Abstract Abstract Photography

    Materials

    Photographic Paper, Digital

  • Empire State building Multiple Exposure Zoom
    By Mitchell Funk
    Located in Miami, FL
    Six in-camera exposures with yellow, green and red filters on a single frame of Kodacrome while moving the position of the camera and zooming yields a striking semi-abstract color i...
    Category

    1970s Abstract Geometric Landscape Photography

    Materials

    Inkjet

  • Perspective And Delusion
    By Jens-Christian Wittig
    Located in Rye, NY
    Digital Painting, Lambda Print on fuji crystal archival paper mounted on aluminum dibond, acrylic front.
    Category

    2010s Abstract Abstract Paintings

    Materials

    Digital, Lambda

  • 'Gold And Diamond Glitter' Abstract Digital Painting Featuring Architecture
    By Jens-Christian Wittig
    Located in Rye, NY
    The works of JCW at the onset and in print are photographic techniques. However, at their conclusion, they are no longer photographs, but rather transformed compositions. Brushwork a...
    Category

    2010s Abstract Abstract Photography

    Materials

    Digital

Recently Viewed

View All