Acrylic Polymer Abstract Paintings

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Stuart Bigley is an artist based in New York’s beautiful Hudson Valley. He has been making and showing his artwork for over 40 years. During this time he also co-founded and ran the ...

Melisa Taylor Metzger’s MH II is a hauntingly immersive optical spray painting on wood, executed with pyrography, airbrushed paint, stencils, and a removed tape grid. The composition...

Melisa Taylor Metzger’s MH I is a striking large-scale optical spray painting on wood, created through pyrography, airbrushed paint, stencils, and a removed tape grid. The piece vibr...

Donald Martiny’s signature work is composed of dispersed pigment on aluminum. He creates immediately frozen brushstrokes that are made from his own movements. They are defined by the...

mixed media on wood, acrylic paint In this piece, Zin Helena Song utilizes a sharp triangular shape as her wood panel. This shape is common in city grids, like when Broadway meet...

"At Sea Between Fossils and Satellites II2" is a textured mixed-media painting that explores the connection between the ancient and the celestial. Created with acrylic, latex, copper...

“Rift Valley, Sonde IV” is a richly textured mixed-media composition that captures the interplay between natural and abstract forms, evoking the raw beauty of nature while offering a...

Donald Martiny’s signature work is composed of dispersed pigment on aluminum. He creates immediately frozen brushstrokes that are made from his own movements. They are defined by the physicality of his body. Moving is an expression, just as is the color. The paintings are actual authentic gestures. Once completed, they look like relief on the wall. The artist is represented by galleries in Europe, the US and Australia. Additionally, his work is in the permanent collections of the Crocker Art Museum in Sacramento, CA; the Amon Carter Museum of American Art in Fort Worth, TX; the Newcomb Art Museum at Tulane University in New Orleans, LA; the FWMoA, Fort Wayne, IN and the Lamborghini Museum in Bologna, Italy. In 2015 Martiny received a commission from the Durst Organization to create two monumental paintings that are permanently installed in the lobby of One World Trade Center in New York City. His work is in numerous collections, including: Graham Gund Family Foundation (Cambridge, MA); Patrick Duffy (Chairman, Las Vegas Art...

acrylic on linen 40" x 35" x 3" 2015 This item is offered by the Muriel Guépin gallery, NY In this piece, Zin Helena Song uses quite a chaotic pattern, and almost looks like a torna...

mixed media on wood, acrylic paint 25" x 11" 8" 2015 In this piece, Zin Helena song uses a vertical panel, evoking the shape of an urban building. Her strips of paint ride verti...

Signed: H Brown (verso) Marked: Screen Series, No 37 - "Victoria" with date and dimensions (verso) Acrylic polymer on canvas 24 x 24 inches Framed 26 x 26 inches Provenance: Acquire...

MacConnel, Kim Robert (American, California, born 1946) Tourists, Hampi, India (Hampi is an ancient village in the south Indian state of Karnataka. It’s dotted with numerous ruined t...

MacConnel, Kim Robert (American, California, born 1946) Sri Ranganathanswamy Temple, Trichi, India (an ancient Indian city in India's southern Tamil Nadu state) 1992, commercial phot...

"At Sea between Fossils and Satellites 7" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with art deco aestheti...

Paolo Minoli (1942-2004) Archipainting 1988 Acrylic paints on canvas Size 60x60 cm - thickness 3 cm Bibliography: Pirovano, Paolo Minoli, General Catalog, volume 2, 1959-1979 Paolo Minoli was born in 1942 in Cantù (Como). He attended, at a very young age, the home of painter Enrico Sottili and, as a student, the studio of sculptor Gaetano Negri. He graduated "Master of Art" in 1961 from the State Art Institute of Cantù, where he taught from 1964 to 1978. Participated in 1968 in the national exhibition for young painters of the "San Fedele" prize in Milan. In 1969 he was featured in the exhibition "Urban Field. Aesthetic Interventions in the Urban Dimension," organized in Como, with a collective intervention on the theme "Signal Color." From 1977 to 1978 he was part of the research group "The Systematic Questioning" with Nato Frascà and Antonio Scaccabarozzi. Since 1979, at the Brera Academy of Fine Arts in Milan, he has taught the special course in "Chromatology" and collaborated, as a consultant, with companies for the application of chromatic solutions in industrial production. He was artistic director of the art series published by the "RS" editions in Como (1975-1986) and, from 1986 to 1989, of the "On Color" silkscreen printing workshop in Cantù, in collaboration with various artists, including Mario Radice, Carla Badiali...

This powerful and vividly colored diptych by Malcolm Maloney Jagamarra (born 1955), a renowned Warlpiri artist, is an extraordinary example of contemporary Aboriginal art, drawing deeply from cultural knowledge, ancestral memory, and ecological stewardship. Depicting the sacred narrative of the creation of the Lander River system, the painting is both a visual masterpiece and a spiritual map, tracing a journey through geography, kinship, and Dreaming (Jukurrpa). At first glance, the canvas pulsates with energy. Vortices of concentric circles in rich ochres, reds, yellows, and blues dominate the composition, pulling the viewer into the spiraling flow of the Dreaming. These forms are not merely decorative; they carry deep cultural meaning. The blue line that winds through the center of both canvases is a stylized yet surprisingly geographical depiction of the Lander River, representing its twisting path through central Australia, from the artist’s home country of Willowra to Purtulu (Mount Theo), his mother’s land. Purtulu, meaning “backbone” in Warlpiri, forms not only a physical destination but a metaphorical axis that holds the painting together. This backbone is both personal and cosmic, representing the spine of the land, the structure of ancestral lore, and Jagamarra’s own familial inheritance. The work is grounded in the artist’s kinship obligations and responsibilities to country, with specific references to the roles of kirda (owners of the Dreaming) and kurdungulu (caretakers). In Warlpiri culture, this relational dynamic is foundational, it is the system by which land is cared for, stories are maintained, and ancestral laws are fulfilled. The Dreaming Goannas, positioned at each end of the canvases, are key ancestral figures. Their presence not only signals the sacred nature of this journey but also reflects the traditional Warlpiri iconography, note the “U” shapes, which are used to denote seated ancestors. The goanna is a totemic being, and its hunting patterns and ecological relationships are mirrored in human behavior. To maintain the health of the land and support the goanna population, it is necessary to burn the country regularly. Jagamarra references this practice with depictions of spinifex grass and hunting grounds, connecting mythological beings with tangible ecological practices, and blurring the line between story and science, belief and land management. The left canvas contains the Owl Dreaming, where an abstracted face of the owl can be discerned, haunting and watchful. The owl, a silent observer of the night, brings wisdom and a sense of foreboding. It is a powerful spirit presence in many Aboriginal traditions. Meanwhile, the right canvas turns to the Warna, or Snake Dreaming. The snake, winding and water-bound, is both creator and destroyer, and its movement echoes that of the river. The snake’s body, woven into a hypnotic spiral, is a symbolic representation of the waterways that give life and form to the central desert. This artwork is more than a painting, it is a teaching. It encodes knowledge about ecology, fire management, kinship roles, and sacred geography. It is both autobiographical and communal, a map of memory and belonging. Created within the living traditions of Warlpiri law, it speaks to the inseparable relationship between people and land in Aboriginal worldviews. Malcolm Maloney Jagamarra’s work is a powerful expression of this connection, his hand guided not only by brush but by heritage, ceremony, and Dreaming. Its journey from the Aboriginal Art Galleries of Australia in Melbourne to the Kelton Foundation in Santa Monica, and its exhibition at venues such as the Australian Consulate in Los Angeles and the Indigenous Wisdom and Healing Conference in Virginia Beach...

Acrylic and polymer on aluminum panel

Paolo Minoli (1942-2004) ...On Stage... 1987 Acrylic on Canvas Size 70x70 cm - thickness 3 cm Bibliography: Pirovano, Paolo Minoli, General Catalog, volume 2...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Donald Martiny’s signature work is composed of dispersed pigment on aluminum. He creates immediately frozen brushstrokes that are made from his own movements. They are defined by the...

This is a large colorful, bold, vibrant original oil painting on canvas, hand signed and dated 1989. It is titled Tango. Joan Thorne (1943-) is a New York artist nationally and internationally recognized. A third generation Abstract Expressionist woman artist who has exhibited works over the past 30 years. Her art has been shown in the Corcoran Gallery of Art, Washington, DC, the Whitney Museum’s Annual Exhibition, the Grand Palais in Paris, and Barbara Rose’s seminal exhibition American Painting: The Eighties at New York University’s Grey Gallery. Her recent shows in New York City have been reviewed by the New York Times, Art in America, ArtNews and The New Criterion among others. Her work has been compared to Elizabeth Murray work. It is colorful and has a 1980's, Memphis Milano feel to it. Thorne grew up in Greenwich Village. Her mother was a Ukrainian immigrant from a musical family, who became an English teacher; her father, a surgeon. Recognizing their daughter’s artistic talents early, they enrolled her at age six in the Little Red Schoolhouse on Bleecker Street in Greenwich Village. Founded in 1921 by Elisabeth Irwin, a pioneer in educational reform, the school has continued to maintain its reputation as a progressive and nurturing catalyst for creative children. Pete Seeger, the folk singer, performed there so frequently that Thorne remembered him as if he were one of the teachers. In 1971, Thorne met Faith Ringgold (b. 1930) and joined her as a teacher at the Women’s House of Detention on Rikers Island in a new program called “Art without Walls–Free Space.” The program, which had been born from the civil rights movement, was aimed at enriching the lives of the inmates. Thorne and her peers came of age struggling against sexism in the art establishment and its attendant lack of exhibition opportunities for women. Since 1985, this issue had been loudly exposed by the public protests of the Guerrilla Girls, whose members remain a well-kept secret. Her painting has been included in two Whitney Museum Biennials and various other museum group exhibitions both in the United States, Europe and Latin America. She has had numerous one person shows in galleries such as: Sideshow Gallery New York, Fischbach Gallery, New York City, Corcoran Gallery of Art, Washington D.C., Willard Gallery, New York, Graham & Sons Gallery, New York, The Clocktower, New York City, and the National Arts Club among others. Thorne has been awarded the Prix de Rome Fellowship to paint at the American Academy in Rome. She also received two National Endowment grants for painting and two Pollock Krasner Grants among others. "Since 1973, while myriad styles, movements and mediums have flourished briefly in turn, Joan Thorne has steadfastly developed one visual language-that of painterly surface, light, color and distilled form-which she finds best suited for her artistic project: intimating dreams. intuitions and the psychic consequences of travel. " "For there is something luxuriant and mysterious in Thorne's compositions. They have a classic modernist genealogy that encompasses Arthur Dove, Georgia O'Keeffe, Marsden Hartley, Milton Avery and Mark Tobey; yet each carries a hint of exoticism, " --Richard Vine, Art In America, Review, June 1998 Education Hunter College, New York, M.A. New York University, New York, B.S. Awards 2006 Adolf Gottlieb Foundation Grant in Painting 2003 Prize in Painting, Florence BiennaleInternazionale, Florence, Italy 2001 Pollock Krasner Foundation Grant in Painting 1986 Prix de Rome, American Academy in Rome Pollock Krasner Foundation Grant in Painting 1983 National Endowment for the Arts, Fellowship in Painting 1980 New York State Council on the Arts, Grant for Painting 1979 National Endowment for the Arts, Fellowship in Painting 1976 Grant in Painting, Rhode Island State Council on the Arts 1975 New York State Council on the Arts, Grant for Painting 1974 Grant in Painting, Rhode Island State Council on the Arts 1972 Artist of the Year, Aldrich Foundation Select Solo Exhibitions 2015 Black and White Into Color, National Arts Club, New York 2013 Sideshow Gallery, Williamsburg, NY 2005 Chris Winfield Gallery, Carmel, CA 2004 Klaus Steinmetz Arte Contemporaneo, San Rafael de Escazu, Costa Rica 2002 Feria de Arte International Arcale, Salamanca, España 2001 Andre Zarre Gallery, New York 2000 Retrospective: Museo Las Americas, San Juan, Puerto Rico 1998 A Retrospective: Museo Voluntariado De Las Casas Reales, Casa de Bastidas, Santo Domingo, Dominican Republic 1990 1985 Graham Modern , New York City, NY 1989 1986 Ruth Bachofen Gallery, Santa Monica, CA 1986 William Halsey Gallery, Simon Center for the Arts, College of Charleston, Charleston, SC 1983 Lincoln Center Gallery, Lincoln Center, New York City, NY Dart Gallery, Chicago, IL Gloria Luria Gallery, Bay Harbor Island, FL 1982 Nina Freudenheim Gallery, Buffalo, N 1980 Willard Gallery, New York 1979 The Clocktower: Institute for Art and Urban Resources, New York City, NY 1977 Galerie Veith Turske, Cologne Art Fair, Cologne, Germany 1974 Fischbach Gallery, New York City, NY 1973 Corcoran Gallery of Art, Washington, DC Select Group Exhibitions 2019 Art On Paper, March 2019, New York, NY 2018 Sideshow Gallery, The Greatest Show On Earth, Williamsburg, NY 2015 Outside The Lines/Modernist Drawings, National Arts Club, NY 2014 "National Arbor Day Show", National Arts Club, New York, NY ArtHamptons Fair, July 10-13, East Hampton, NY Tribal and Contemporary Art, June 12 - July 28, New York, NY 2012 Art Southampton, International and Contemporary Modern Art Fair, Hollis Taggart 2010 Janet Kurnatowsky Gallery, New York 2003 Biennale Internazionale Dell' Arte Contemporanea, Florence, Italy 2002 Gallery Uno 'Spazio Su Misura, Milan, Italy 1991 Andre Emmerich Gallery, "Abstract Painting of the 90's", curated by Barbara Rose. New York Stock Exchange, Invitational 1989 Graham Modern, "Synthesis" 1986 Graham Modern, "Diptychs, Triptychs, Polyptychs" Sidney Janis Gallery, "American Women Artists", New York City, NY Nina Freudenheim Gallery, Buffalo, NY N.Y.C.W.C.A., "Abstract Painting: Painting by Women Artists...

Paolo Minoli (1942-2004) R.S.P. (Perspective Space Search) 1969 Acrylic on Canvas Size 40x40 cm (63x63 cm including the frame with invisible glass) Bibliography: Pirovano, Paolo Minoli, General Catalog, volume 1, 1959-1979 Paolo Minoli was born in 1942 in Cantù (Como). He attended, at a very young age, the home of painter Enrico Sottili and, as a student, the studio of sculptor Gaetano Negri. He graduated "Master of Art" in 1961 from the State Art Institute of Cantù, where he taught from 1964 to 1978. Participated in 1968 in the national exhibition for young painters of the "San Fedele" prize in Milan. In 1969 he was featured in the exhibition "Urban Field. Aesthetic Interventions in the Urban Dimension," organized in Como, with a collective intervention on the theme "Signal Color." From 1977 to 1978 he was part of the research group "The Systematic Questioning" with Nato Frascà and Antonio Scaccabarozzi. Since 1979, at the Brera Academy of Fine Arts in Milan, he has taught the special course in "Chromatology" and collaborated, as a consultant, with companies for the application of chromatic solutions in industrial production. He was artistic director of the art series published by the "RS" editions in Como (1975-1986) and, from 1986 to 1989, of the "On Color" silkscreen printing workshop in Cantù, in collaboration with various artists, including Mario Radice, Carla Badiali...

"Laying a Field" was inspired by constellations and fractals. I was also experimenting in mold making using a type of vacuum molds. The lines you see are slightly raised above the ...

Your eye wanders the surface of this painting on canvas by Vince Coyner studying the movement and interactions of dots and stripes and dripped paint. Ther...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

In poured tinted polymer on aluminum, Outland No 34 by Susan English is a wonderful play of color, light, and composition. The layers of English's tinted polymer create the depth and...

The Veils introduce Brindle’s newest series, where diaphanous washes of color float on elegantly suspended sheets of acrylic. Painted in layers from the back of these sleek, crystall...

Optical Abstraction by Enrico Sirello, 1974 - Italian Arte Programmata Movement Enrico Sirello (Livorno, 1930 - 2012) Study for a Mural no. 1 (Black Background and Red Axes), 1974 A...

A native of New Orleans, Taney Roniger has been living in New York since the 1990s. After graduating with a BFA from New York’s School of Visual Arts, she received her MFA from Yale ...

This contemporary poured, tinted polymer painting on floating panel, Weather No. 1 by Susan English is a wonderful play of color, light, and composition. The layers of English's tint...

Cityscape mixed media on Cavas 70x100 cm Original Art Ready to Hang Architecture Category Painting Year 2013 Mediums, Materials, Styles Mediums Enamel, Oil, Gesso Materials Canvas ...

Colourful Abstract Painting using Orange & Turquoise Resin on a White Canvas by 20th Century British Artist Art measures 30 x 30 inches (Unframed) Philippe Aird...

Donald Martiny’s signature work is composed of dispersed pigment on aluminum. He creates immediately frozen brushstrokes that are made from his own movements. They are defined by the...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Vibrant work from the studio of this talented British artist

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Edition of 8

Collection: Earth Acrylic on canvas Md Tokon's style has reflected the art of American Abstract Expressionists. Md Tokon spent his early years in Jhenidah and Dhaka. The physicality...

This painting by Antoinette is a stylish and luxurious mixed media on canvas piece depicting abstract floral shapes with bold use of color and contrast. The Silver Leaf background allows for the luminosity to shine through effortlessly, as the lines and intricate details of the silk paper laid over paint and mixed media add a most interesting texture. The artist's hand embellishes with free fall paint dripping to add elegant accents. This painting comes housed in a natural oak floater frame with hanging wire on verso ready to be displayed. Art measures 31.5 x 31.5 inches Frame measures 33 x 33 inches Antoinette Ferwerda is a renowned Australian artist largely recognized for producing a bold collection of fine artwork that joyfully explores the geometry of shape and the changing light from dusk to dawn. Championing her love for shape, reflection, and nature using a diverse pallet of mixed media to portray her abstract interpretations of nature. Antoinette's diverse past and a childhood that was somewhat nomadic has inspired much of her work today. Antoinette’s backstory reads like something out of an adventure series, having spent her early days living in remote pockets of Papua New Guinea, where she was lucky to spend time in a seaside shack on Ela Beach in Port Moresby, as well as the volcanic town of Rabaul, the Cargo Port Lae, before moving on to Darwin where her Dad worked for the Red Cross and helped with the re-build process after Cyclone Tracy. This was followed by a family stint in Europe, visiting Netherlands, London, Belgium, France, Italy, and Switzerland, before finally settling back in Melbourne for her formative years. Her love for nature and exploring the patterns and relationships she finds within started early. “I’ve been forever fascinated with color and the magical interplay of light”. “Blessed to have a teacher Mum who fostered regular creative time during our nomadic stint, my childhood was largely spent creating, especially outdoors”. Never without a pen, sketchbook or scraps of paper, her natural ability to create in layers instinctively started in these early years. Although her work continues to evolve, she consistently creates works that are rich in layers, resulting in pieces that are optimistic, luminous and full of stories from her colorful life. Her signature work is abundant with color and texture, resulting in a transparent quality of her works. Adaptable to any palette, Antoinette has produced works from a diversity of spectrums and mediums – sun-soaked, muted and ethereal, vibrant, as well as monochromatic with accents of gold. Her themes include abstract and metaphysical interpretations of fossicking in rock pools, exploring the rolling hills of the countryside both here and abroad, the rock formations of the Australian outback and the magical light of a European summer to name just a few. Her dream and longing to become an artist became a reality after starting her own family and farewelling a corporate life in the pharmaceutical industry, with her debut solo exhibition in 2014. Six years on, Antoinette has fast become a firm favorite amongst interior designers, stylists and home decorators alike, having been represented by fenton&fenton, Thom Gallery and Trit House (formally Click On Furniture) to name just a few. Continually experimenting and evolving as an artist, Antoinette invites the viewer to look deeper through surface layers to find hidden stories of color and form. Past collections have been inspired by visits to the bustling markets of India, the morning light outside her childhood beach shack...

Ronald Davis (American, b. 1937) Pitch, 1983 cel-vinyl copolymer on canvas Hand signed verso and further inscribed with title, date, size and PTG 751 67 x 110 1/2in. Framed 69 x 112in. Bears remnants of old gallery label to reverse. Ronald Ron Davis (born 1937) is an American painter whose work is associated with geometric abstraction, abstract illusionism, lyrical abstraction, hard-edge painting, shaped canvas painting, color field painting, and 3D computer graphics. He is a veteran of nearly seventy solo exhibitions and hundreds of group exhibitions. Born in Santa Monica, California, he was raised in Cheyenne, Wyoming. In 1955–56 he attended the University of Wyoming. In 1959 at the age of 22 he became interested in painting. In 1960–64 he attended the San Francisco Art Institute. Abstract expressionism, the prevailing artistic movement of the time, would have an influence on many of his future works. In 1962 he was a Yale-Norfolk Summer School Grantee. In 1963 his paintings became hard-edged, geometric and optical in style, and by 1964 his works were shown in important museums and galleries. He lived and worked in Los Angeles, 1965–71, and in Malibu, California, 1972–90. Since 1991 he has lived and worked in Arroyo Hondo on the outskirts of Taos, New Mexico. Ronald Davis from the earliest days of his career had a significant impact on contemporary abstract painting of the mid-1960s. According to art critic Michael Fried: Ron Davis is a young California artist whose new paintings, recently shown at the Tibor de Nagy Gallery in New York, are among the most significant produced anywhere during the past few years, and place him, along with Frank Stella and Walter Darby Bannard, at the forefront of his generation. He had his first one-person exhibition at the Nicholas Wilder Gallery in Los Angeles in 1965. Barbara Rose wrote an in depth essay about Davis' paintings of the 1960s in the catalogue accompanying an exhibition of his Dodecagon Series in 1989 in Los Angeles. Among other observations she wrote: Davis saw a way to use Marcel Duchamp's perspective studies and transparent plane in The Large Glass for pictorial purposes. Instead of glass, he used fiberglass to create a surface that was equally transparent and detached from any illusion of reality. Because his colored pigments are mixed into a fluid resin and harden quickly, multiple layers of color may be applied without becoming muddy. his is essentially an inversion of Old Master layering and glazing except that color is applied behind rather than on top of the surface. Alone among his contemporaries, Davis was equally concerned with traditional problems of painting: space, scale, detail, color relationships and illusions as he was with the California emphasis on hi-tech craft and industrial materials. His work has some connection to the Light and Space art movement related to op art and minimalism. He was a contemporary of Peter Alexander, Larry Bell, Robert Irwin, Ron Cooper...

Laddie John Dill Untitled Mixed Media painting, 2011 Cement, polymer, wood, mixed media on board 12 × 18 × 1 1/2 inches Signed and dated on the back Unique work This exquisite unique...

Collection: Beyond the Horizon Acrylic on canvas Md Tokon's style has reflected the art of American Abstract Expressionists. Md Tokon spent his early years in Jhenidah and Dhaka. Th...

This year, 2024, the artist Ruth Vidal (1998, Isla de Arousa) launches her latest research into painting and games. These works are based on the references that the artist draws from...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Abstracted geometric contemporary landscape mixed media painting with acrylic, ink, polymers, and layers of complex and beautiful lines and marks that delve into the connection betwe...

Luis Miguel Valdes (Cuba, 1949) 'Memories V', 2024 acrylic on canvas 60 x 60 in.

Collection: Beyond The Horizon Acrylic on canvas Md Tokon's style has reflected the art of American Abstract Expressionists. Md Tokon spent his early years in Jhenidah and Dhaka. Th...

Collection: Beyond the Horizon Acrylic on canvas Md Tokon's style has reflected the art of American Abstract Expressionists. Md Tokon spent his early years in Jhenidah and Dhaka. T...

Collection: Beyond the Horizon Acrylic on canvas Md Tokon's style has reflected the art of American Abstract Expressionists. Md Tokon spent his early years in Jhenidah and Dhaka. Th...

"At Sea Between Fossils and Satellites" is a large-scaled textured mixed-media painting that explores the connection between the ancient and the celestial. Created with acrylic, late...

Painted by Jim Jacobs (American, born 1945), titled, 'Nankaweep' and dated 1983. Previously with Lopoukhine Gallery, Boston. A substantial, dynamic abstract comprising staccato geom...

At Sea Between Fossils and Satellites 15 is a richly textured, mixed-media painting by Melisa Taylor Metzger from her decade-long series At Sea Between Fossils and Satellites (2015–2...

Ellen Hackl Fagan is an interdisciplinary abstract painter who uses synaesthesia, digital media and interactive performance as tools for developing a corresponding language between color and sound in her work. Focused in on the core concept in her abstract work, Fagan began creating a small series of works titled ColorSoundGrammar. This series explores the nature of printmaking processes, texture and surface using everyday materials as stamping elements. Ellen Hackl Fagan is the inventor of The Reverse Color...

Luis Miguel Valdes (Cuba, 1949) 'Memories III', 2024 acrylic on canvas 60 x 60 in.

"Fractal Frost" by Christopher Owen Nelson Carved/Painted Acrylic 48x48x2", One-of-a-Kind, no frame needed - comes with custom metal bracket mount that is virtually unseen. "The env...

Luis Miguel Valdes (Cuba, 1949) 'Memories IV', 2024 acrylic on canvas 60 x 60 in.

Vestiges spectrales IV continues Melisa Taylor Metzger’s exploration of oceanic memory and material transformation through mixed media and impasto. This smaller-scale work, rich in t...