Glitter Abstract Paintings

MULTICOLORED TAPESTRY 5 is an acrylic sculptural painting on panel that is created from various types of molds. Artist Statement: I am drawn to the aesthetic qualities of jewelry...

Jake Chapman Yin & Yin, 2022 Unique multiple on hand-painted circular ply boards with glitter overlay 17 3/10 in diameter 44 cm diameter hand-signed on the back number 7 of 125 "Yi...

A stylized depiction of bathers in a swimming pool, reminiscent of 1970's style advertising, this large scale conceptual text based by New York artist, David Kramer reads: "I am all ...

A dramatic mixed media on canvas painting with wonderful details and pops of purple, green and light lavender. We are enamored by the stark contrast, as the shape of the paint takes ...

JENNY DAY (b.1981) is a painter based in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Ala...

Coulombe-Bégin's dynamic acrylic on canvas works seek to produce a metamorphic interpretation of the artist's inner identity. Her paintings make ample use of contrasting colors to cr...

A dramatic mixed media on canvas painting with wonderful details and pops of purple, yellow and cobalt blues. We are enamored by the stark contrast, as the shape of the paint takes o...

A wonderful circular mixed media on canvas painting. Executed with bold, bright colors and beautiful pops of metallic and gold. The First Time I Met You is part of a series of abstra...

Miriam Schapiro, "Curtain Call" 2002 Hand signed, dated and titled verso and signed and dated recto. acrylic paint, digital images, glitter and textile fabric on canvas, tooling with gold leaf embossing around self edge of painting. size: 60 x 50 in Miriam Schapiro (or Mimi Schapiro) (November 15, 1923 – June 20, 2015) was a Canadian-born artist based in America. She was a painter, sculptor and printmaker. She was a pioneer of feminist art. She was also considered a leader of the Pattern and Decoration art movement. Schapiro's artwork blurs the line between fine art and craft. Her paintings contain craft elements because crafts and decoration is associated with women and femininity. She used icons that are associated with women such as hearts, floral decorations, geometric patterns and the color pink. In the 1970s she made a small woman's object, the fan, heroic by painting it six feet by twelve feet. This bears the influence of the Pattern and Decoration movement artists such as Brad Davis, Mary Grigoriadis, Joyce Kozloff, Robert Kushner, Kim MacConnel, Sonya Rapoport, Miriam Schapiro and Valerie Jaudon. Shapiro was born in Toronto, Ontario, Canada. Her father was an industrial design artist who fostered her desire to be an artist and served as her role model and mentor. Her mother was a stay at home mother who worked part-time during the depression. As a teenager, Schapiro was taught by Victor d’Amico, her first modernist teacher at the Museum of Modern Art. In the evenings she joined WPA classes for adults to study drawing from the nude model. In 1943, Schapiro entered Hunter College in New York City, but eventually transferred to the University of Iowa. At the University of Iowa, Schapiro studied painting with Stuart Edie and James Lechay. She studied printmaking under Mauricio Lasansky and was his personal assistant, which then led her to help form the Iowa Print Group. Lasanky taught his students to use several different printing techniques in their work and to study the masters' work in order to find solutions to technical problems. At the State University of Iowa she met the artist Paul Brach, whom she married in 1946.. By 1951 they moved to New York City and befriended many of the Abstract expressionist artists of the New York School, including Joan Mitchell, Larry Rivers, Knox Martin and Michael Goldberg. Schapiro worked in the style of Abstract expressionism during this time period. Shapiro and Brach lived in New York City during the 1950s and 1960s. During this period Shapiro had a successful career as an abstract expressionist painter in the hard-edge style. In December 1957, André Emmerich selected one of her paintings for the opening of his gallery. Schapiro not only honored the craft tradition in women's art, but also paid homage to women artists of the past. In the early 1970s she made paintings and collages which included photo reproductions of Mary Cassatt's and Georgia O'keefe's paintings. Early in her career, Schapiro started looking for maternal symbols to unify her own roles as a woman. Her series, Shrines (1963), was her first artistically successful attempt at compartmentalizing her life roles. Her painting, Big Ox No. 1, from 1968, references Shrines, however no longer compartmentalized. The center O takes on the symbol of the egg which exists as the window into the maternal structure with outstretched limbs. Her series, Shrines was created in 1961–63. It is one of her earliest group of work that was also an autobiography. Each section of the work show an aspect of being a woman artist. They are also symbolic of her body and soul. In 1964 Schapiro and her husband Paul both worked at the Tamarind Lithography Workshop. One of Schapiro's biggest turning points in her art career was working at the workshop and experimenting with Josef Albers' Color-Aid paper, where she began making several new shrines and created her first collages. In the 1970s, Schapiro and Brach moved to California so that both could teach in the art department at the University of California. Subsequently, she was able to establish the Feminist Art Program at the California Institute of the Arts, in Valencia with Judy Chicago. The program set out to address the problems in the arts from an institutional position. They wanted the creation of art to be less of a private, introspective adventure and more of a public process through consciousness raising sessions, personal confessions and technical training. She participated in the Womanhouse exhibition in 1972. Schapiro's smaller piece within Womanhouse, called "Dollhouse", was constructed using various scrap pieces to create all the furniture and accessories in the house. Each room signified a particular role a woman plays in society and depicted the conflicts between them. Along with Nancy Spero, Joan Snyder, Joyce Kozloff, Audrey Flack and Judy Chicago, she is from that first generation of Jewish American feminist women artists and includes Judaica in her work. Schapiro's work from the 1970s onwards consists primarily of collages assembled from fabrics, which she called "femmages". As Schapiro traveled the United States giving lectures, she would ask the women she met for a souvenir. These souvenirs would be used in her collage like paintings. Her 1977-1978 essay Waste Not Want Not: An Inquiry into What Women Saved and Assembled - FEMMAGE (written with Melissa Meyer) describes femmage as the activities of collage, assemblage, découpage and photomontage practised by women using "traditional women's techniques - sewing, piercing, hooking, cutting, appliquéing, cooking and the like..." She was involved in Abstract expressionism, Minimalism, Computer art, and Feminist art. She worked with collage, printmaking, painting, femmage [fr] – using women's craft in her artwork, and sculpture. Schapiro not only honored the craft tradition in women's art, but also paid homage to women artists of the past. In the early 1970s she made paintings and collages which included photo reproductions of past artists such as Mary Cassatt. In the mid 1980s she painted portraits of Frida Kahlo on top of her old self-portrait paintings. In the 1990s Schapiro began to include women of the Russian Avant Garde in her work. The Russian Avant Garde was an important moment in Modern Art history for Schapiro to reflect on because women were seen as equals. Schapiro also did collaborative art projects, like her series of etchings Anonymous was a Woman from 1977. She was able to produce the series with a group of nine women studio-art graduates from the University of Oregon. Each print is an impression made from an untransformed doily that was placed in soft ground on a zinc plate, then etched and printed. Her image is included in the iconic 1972 poster Some Living American Women Artists by Mary Beth Edelson...

"Looking for faith at the party" stems from finding pattern and rhythm in the world around him. Giles' paintings begin from finding places and spaces between words and lines in the text of "One Hundred Years of Solitude...

Darren Goins, (American, b. 1993) Acrylic paint and metal flake glitter with silkscreen on paper Not signed on front. (presumably signed verso but has not been examined out of frame) Overall: 30-1/4"h x 26-1/4"w Paper Size: 26-1/2"h x 22-1/2"w Darren Goins (American Post War and Contemporary art) was born in 1984 in North Carolina but now resides in Los Angeles, California. Goins is well known for his unique style and aesthetic, which involves the combination of digital technologies and traditional painting methods to create abstract paintings. Working with a wide range of media–printmaking, painting, drawing, sculpture, neon–Goins’ art manages to capture the anxiety of the digital Information Age in both color and form. Creating imagery with both computer software and the paintbrush, Darren Goins’ paintings utilize both traditional methods of abstraction as well as digital intervention.Goins graduated from UNC Charlotte with a BFA in Photography and Printmaking and a minor in Art History. Goins soon moved to New York, and later Los Angeles where he currently lives and works. Goins’ style utilizes computer software, like Adobe Photoshop or Microsoft Paint, in order to etch the image onto an acrylic panel using a CNC carver. He then paints over the surface, which in turn becomes the backside of the painting as the reverse side of the clear panel faces the viewer. Goins in this manner appears to be tricking the eyes of the viewers with his work; portraying the pieces as a base relief in reverse as if the painting is somehow bubbling up from behind the acrylic panel. Goins’ pieces also confront the audience with how one can engage with, and utilizes, technology in art. Through his embrace of technical chance and his flexible, manual process, something organic peeks through from, within these images. In Goins’ paintings we can see the ghost of humanity filtered through digital media, fluidly weaved in space. Using his camera phone, digital prints, silver gelatin prints and screen-print drawings from his computer, Microsoft Paint or Photoshop. He has been exhibited internationally, Goins has had solo exhibitions at Hezi Cohen Gallery in Tel Aviv, Israel, Whitcher Projects in Los Angeles, Martin Lawrence Galleries, La Jolla, California and Hap Gallery in Portland, Oregon among others. Goins has participated as an artist-in-residence at Socrates Sculpture...

This conceptual text based painting by New York artist, David Kramer, incorporates gestural swatches of color over a controlled pastel striped ground. The bold text reads: "I AM COM...

This conceptual text based painting by New York artist, David Kramer, combines stylized painting of the FBI Building in Washington DC and the bold text: BRUTAL. An architecture joke, the subtitle reads: "Quasi-Political Architecture Joke (for James Comey.). The J Edgar Hoover building is a low-rise office building located at 935 Pennsylvania Avenue NW in Washington, D.C., in the United States. It is the headquarters of the Federal Bureau...

"The Ancient Testament" Pop Art Painting 55" x 79" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC...

Jumper Maybach is an abstract painter and the alter ego of Ben Workman. Maybach draws inspiration from Jackson Pollock, often creating his works by lay...

JENNY DAY (b.1981) is a painter based in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Ala...

Mike Piggott was born in 1963, Charlottesville, VA. He received his BA at Virginia Commonwealth University and studied at the Winchester College of Art, Winchester England. Mike Pigg...

"Lone Star, True But Whatever There was I time when I ached for the world. Before cell phones, before social media, I felt the urgency of environmental damage, of social injustice. Nothing seems to have gotten better. I'm not numb to it, but in some way I've become flip, a resigned humor like a layer of scar tissue between my concerns and the abrasion all around. Still, I was surprised how playful these paintings became. Disasters intertwine: Urns, much like the one that held my twin sister's ashes, a familial disaster, come to the forefront, variations of childhood memory. Images from photos I took in Port Aransas...

JENNY DAY (b.1981) is a painter based in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Ala...

"Lone Star, True But Whatever There was I time when I ached for the world. Before cell phones, before social media, I felt the urgency of environmental damage, of social injustice. Nothing seems to have gotten better. I'm not numb to it, but in some way I've become flip, a resigned humor like a layer of scar tissue between my concerns and the abrasion all around. Still, I was surprised how playful these paintings became. Disasters intertwine: Urns, much like the one that held my twin sister's ashes, a familial disaster, come to the forefront, variations of childhood memory. Images from photos I took in Port Aransas...

JENNY DAY (b.1981) is a painter based in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Ala...

"Lone Star, True But Whatever There was I time when I ached for the world. Before cell phones, before social media, I felt the urgency of environmental damage, of social injustice. Nothing seems to have gotten better. I'm not numb to it, but in some way I've become flip, a resigned humor like a layer of scar tissue between my concerns and the abrasion all around. Still, I was surprised how playful these paintings became. Disasters intertwine: Urns, much like the one that held my twin sister's ashes, a familial disaster, come to the forefront, variations of childhood memory. Images from photos I took in Port Aransas...

JENNY DAY (b.1981) is a painter based in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Ala...

JENNY DAY (b.1981) is a painter based in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Ala...

Medium: acrylic, flashe, collage, pencil, paint pen, glitter and crayon on canvas. Our gallery is pleased to announce the first solo exhibition of Tucson-based artist Jenny Day, ent...

This is a 20" tall by 16" wide original oil painting with a glitter overlay, typical of the artist's Anthropocene body of work. A realistic landscape was painted and then when the pa...

Erotic Dreams by Lélia Pissarro (b. 1963) Acrylic and glitters on canvas 51 x 40.5 cm (20 ¹/₈ x 16 inches) Signed and titled on the reverse This work is accompanied by a certificate of authenticity from the artist. Artist biography Born in Paris in 1963, Lélia is the third and youngest child of Hugues-Claude and Katia Pissarro. She was raised, however, in the loving care of her grandparents Paulémile Pissarro, Camille’s youngest son, and his wife Yvonne, in Clécy, Normandy. From a young age, Lélia’s interest in drawing and painting was nurtured by her grandfather while she sat beside him at his easel, captivated. He taught her the fundamental Impressionist and Post-Impressionist techniques he had learnt from his father and brothers before him and watched as her skills blossomed rapidly. Standing readily on the shoulders of giants, Lélia sold her first painting to New York art dealer Wally Findlay, when she was only four years of age. When Lélia turned 11 she moved to Paris to live with her parents where, with the guiding support of her father’s teachings she began to broaden her skill sets. Under the watchful eye of her father Hughes Claude Pissarro, she became exposed to new environments and learnt to experiment with abstract styles and subjects. At age 14 Lélia submitted some of these works to the exhibition ‘Salon de la Jeune Peinture’ at the Luxembourg Museum in Paris. Being underage, however, she had to submit these works secretly under the pseudonym Rachel Manzana Pomié. With her parents dividing their time between France and California, Lélia found herself moving between Tours, Paris and San Francisco, all the while studying fine art and psychology at the University des Beaux Arts. She eventually settled in Paris to teach art at the Moria School and study oil painting conservation under the guidance of a teacher from the Louvre museum. During this time she began to present her work in solo exhibitions in Paris, Lyon, Mulhouse and Rennes. In 1988 Lélia married English art dealer David Stern and moved to London. Their three children Kalia, Lyora and Dotahn, all paved their own way in the art world. From 1995 Lélia participated in a series of exhibitions entitled Pissarro – The Four Generations, which were held in galleries in London, Tel Aviv, Boston, Austin, San Francisco, Cleveland, Milwaukee and Los Angeles as well as a number of museums in Japan in 1998 and the Museum of Art in Fort Lauderdale, Florida in 2000. In 1999 Lélia also became one of the founders of the Sorteval Press, a group of artists dedicated to developing techniques in etching and printmaking. Their first exhibition took place at the Mall Gallery in London. In 2005 following a long break in painting because of cancer, Lélia started a journey into modern art creating a number of different series: Circles, Shoes, Animals, exploring these until she reached the point of abstraction and minimalism. Developing innovative techniques, she began incorporating in her work new materials such as gold, wax and encaustic paint. To coincide with a major exhibition at Stern Pissarro gallery...

This text based fiber work by New York artist, David Kramer incorporates elements of crafting known as hook rug, which are tooled over hand drawn elements on the burlap. A Firestone ...

Indecent Exposure by Lélia Pissarro (b. 1963) Acrylic and glitters on canvas 150 x 120 cm (59 x 47 ¹/₄ inches) Signed lower right, Lélia Pissarro; signed, titled and dated on the rev...

I Love You by Lélia Pissarro (b. 1963) Acrylic and glitters on canvas Triptych, each panel 80 x 30 cm (31 ¹/₂ x 11 ³/₄ inches); overall 80 x 90 cm (31 ¹/₂ x 35 ³/₈ inches) Signed an...

For I have provided for myself a King among his sons (b. 1963) Acrylic and glitters on canvas 70 x 70 cm (27 ¹/₂ x 27 ¹/₂ inches) Signed lower right, Lélia Pissarro; signed and title...

"Lone Star, True But Whatever There was I time when I ached for the world. Before cell phones, before social media, I felt the urgency of environmental damage, of social injustice. Nothing seems to have gotten better. I'm not numb to it, but in some way I've become flip, a resigned humor like a layer of scar tissue between my concerns and the abrasion all around. Still, I was surprised how playful these paintings became. Disasters intertwine: Urns, much like the one that held my twin sister's ashes, a familial disaster, come to the forefront, variations of childhood memory. Images from photos I took in Port Aransas...

Medium: acrylic, flashe, collage, pencil, paint pen, crayon and glitter on canvas Our gallery is pleased to announce the first solo exhibition of Tucson-based artist Jenny Day, enti...

Medium: acrylic, flashe, collage, pencil, paint pen, crayon, collage, glitter on canvas Our gallery is pleased to announce the first solo exhibition of Tucson-based artist Jenny Day...