Metal Abstract Paintings

The Unity series is about bringing peace, balance, and harmony to the mind/body/spirit connection. Following the pathway of the chakras of the body and the geometry found in nature, ...

The Unity series is about bringing peace, balance, and harmony to the mind/body/spirit connection. Following the pathway of the chakras of the body and the geometry found in nature, ...

The original colour inspiration for this canvas , was the beautiful blossom on the red horse chestnut trees , surrounding the studio. I also wanted to use fragments of treasured char...

Light Refraction #23, 2015 by Natasha Zupan From the series Light Refraction Oil, fabric, encaustic, 24K Gold, medium, on canvas Size: 9.5 in. H x 7.5 in. W x 3 in D. Canvas on a st...

Original raised wood with inset enamel paint artwork by Sid Birnbaum. The painting is done in a abstract cubist style. Condition is very good. Signed and dated verso, 1987. Overal...

Due to the size of the work, it was sent rolled in a tube El cuadro abstracto es una obra de arte sorprendente y cautivadora que evoca una sensación de ensoñación y fantasía. La pie...

This work is from the Wonderment of Otherness series of paintings by New York City-based artist Christopher Stout, whose pronouns are he/him or inclusive they/them. Each work within the Wonderment of Otherness series is a sculptural monochrome painting and is part of the contemporary genre of art referred to as queer abstraction. A statement of practice regarding all of Christopher Stout’s work is that it intends to surround us with the notion of radical joy and a vision of queerness as found in our imaginations. But what do the term queer abstraction mean and represent? In the artist’s own words: “I would suggest that queer abstraction might be most easily defined as activist art about the queer experience that does not employ representation of the human figure. Queer abstraction, along with Black abstraction, feminist abstraction, and even Arte povera are examples of 4 distinct types of sociopolitical protest work birthed in the late 1960s and early 1970s, which primarily eschew the use of figuration. In providing additional context, art critic and curator Eric Sutphin theorizes that contemporary artists practicing queer abstraction, 'are in close dialogue with their forbears, and bring to the milieu of queer abstraction a new set of social, economic, and political concerns…including a series of questions: What is the relationship between queerness and formalism? Without explicit political references, how can abstract work transmit the urgency of its content?'” In returning the conversation to the Wonderment of Otherness paintings, each painting in this body of work has been designated as a 'quilt painting' because the central visual element and topography of the works are textile pieces of Belgian linen and cotton sewn together with wire in a manner akin to quilting. It should be noted that quilting here is not a reference to the AIDS quilt, but rather an extension of the tradition of quilting as a form of political art by marginalized people. These quilts are stretched on stacks of wooden panels, so that the works retain elements to suggest being textile pieces, and also elements of being sculptures, and also elements of being paintings. This is a reference to the nonbinary. An equally important concentration within these works is to express a linear relationship between queer abstraction and queer theory. Alongside each painting has been designated a notable academic text, biography, or resource book documenting a spectrum of queer ideas and experiences. Stout noted that, “Some of these books are longtime friends, and some of the more contemporary works were read as part of my research for these paintings.” Whilst these paintings are not designed to illustrate the work of these queer academics, they do hope to activate a through line, manifesting the shared goals within queer abstraction. This painting is titled, Wonderment of Otherness Quilt Painting 001, A Monument to the Work and Queer Personhood of José Esteban Muñoz (which is slightly longer than the 80 characters permitted in the online catalog) and is a monument to the work and Queer personhood of José Esteban Muñoz. Stout painted this piece after re-reading Muñoz’s text, “Cruising Utopia, The Then and There of Queer Futility.” A much-loved quote from this book: “Queerness is not yet here. Queerness is an ideality. Put another way, we are not yet queer. We may never touch queerness, but we can feel it as the warm illumination of a horizon imbued with potentiality. We have never been queer, yet queerness exists for us as an ideality that can be distilled from the past and used to imagine a future. The future is queerness’s domain. Queerness is a structuring and educated mode of desiring that allows us to see and feel beyond the quagmire of the present. The here and now is a prison house. We must strive, in the face of the here and now’s totalizing rendering of reality, to think and feel a then and there. Some will say that all we have are the pleasures of this moment, but we must never settle for that minimal transport; we must dream and enact new and better pleasures, other ways of being in the world, and ultimately new worlds, queerness is a longing that propels us onward, beyond romances for the negative and toiling in the present, queerness is that thing that lets us feel that this world is not enough, that indeed something is missing. Often we can glimpse the worlds proposed and promised by queerness in the realm of the aesthetic. The aesthetic, especially the queer aesthetic, frequently contains blueprints and schemata of a forward-dawning futurity. Both the ornamental and the quotidian can contain a map of the utopia that is Queerness.” ― José Esteban Muñoz ... Process: Stacked wooden panels, on which is stretched a quilt that I fashioned from Belgian linen and cotton fabric sewn together with wire. The finished work is a monochrome painted...

Due to the size of the work, it was sent rolled in a tube El cuadro abstracto es una obra de arte sorprendente y cautivadora que evoca una sensación de ensoñación y fantasía. La pie...

A unique and vivid abstract / surreal landscape painting on stretched canvas. Created with poured enamel and oil paint. Ready to hang. Framing on request.

"Templos Papel" Painting 39" x 29.5" inch by Patricio Gonzalez Oil and silver leaves on paper From "Looking for Happiness" series LOOKING FOR HAPPINESS Like "el dorado", a cultural construction, a myth, the Looking for happiness series talks about the illusion of happiness. Using coordinates between different geographical points and world views, seeking to generate a dialogue between stories. In this way, places speak to tell us about degraded utopias, religious crusades, martyrs and oppressors, wars, victories, and defeats. All searches for what cannot be found. The infinite existing possibilities, in this continuous present and its accumulation, to be history. The utopian idea of achieving completeness or completeness. The transformation of the fabric into jewelry, the transmutation that moves from the sacred to the economic. The "object of desire" is the engine of life and its different permutations. Curriculum vitae Born on February 14, 1974, Santiago, Chile. Study at the School of Fine Arts of t he University of Chile and the University Complutense Hotels guest, Spain. He also attended workshops in painting, drawing and engraving the Circulo de Bellas Artes in Madrid. Work in the study of Guillermo Muñoz Vera, Madrid. SOLO EXHIBITIONS 2018 Kadoshiro Art Gallery “Looking for Happiness” Eduardo Lira Art Gallery “IT ́s not here” 2017 Off the wall / serie Golden Bitches/Beaches>(march 9) Galeria Artium-Miami,Usa 2016 ”Razones para la venganza” Galeria Artium-Miami,Usa. 2015 "Out Doors", Gallery Latam Santiago-Chile. 2013 "Coming down like flies" Latam Gallery Santiago, Chile. 2012 "Coto de Caza" Artium Gallery, Santiago, Chile. 2010 "Reasons for permanecia" Praxis Gallery, Santiago, Chile. 2009 "Fissure postcard" fifhy one Dot Gallery, Miami USA. 2008 "Connotations Sinister Galeria Trece, Santiago-Chile. 2007 "From the periphery to the center" Gallery 000 ", Santiago-Chile. 2005 "Lost Time" Gallery Forest, Consepcion- Chile. 2006 "Permanent Revolution" Artium Gallery, Santiago-Chile. 2005 Providencia Santiago Chile-Cultural Center, “Carrera” 2004 "personal mythologies", Praxis Gallery, Santiago-Chile GROUP EXHIBITIONS 2019 West palm Beach Art...

Due to the size of the work, it was sent rolled in a tube Enamel and Acrylic on Canvas The painting I will describe is an impressive and enigmatic work that conveys an inexhaustible energy and a deep sense of creativity. The dark brown background of the painting provides an apparently calm and serene atmosphere, but the viewer quickly realizes that this work is much more than that. The work itself is an impressive example of the artistic style known as "action painting". This style is characterized by the spontaneous and energetic application of paint, with the artist using a variety of techniques and materials to create a work that seems to be driven by movement and force. In this case, the artist has used a drip and splash approach to create a chaotic and vibrant texture in the background. In the center of the painting is a female figure, represented in a series of white lines and shapes that strongly contrast with the dark background. The figure has an abstract appearance, but clearly represents a woman, with her curved and stylized lines suggesting the shape of her...

Where the Road Crashes into the Sea, 2008 Aluminum, rivets, glass, acrylic paint, fabric Dimensions: 55 1/2 x 55" Mixed Media Sculptural Wall Hanging Art. This painting was made after visiting the location of the fatal Jackson Pollock car crash and includes a silkscreen photograph of the scene. The letters are formed from cut up old license plates. Ryan Humphrey (born 1971) is an American artist who currently lives and works in New York City. Education: BFA, Ohio University, MFA, Hunter College, New York 1999; Skowhegan School of Painting and Sculpture, Maine, 2001; Whitney Museum of American Art Independent Study Program, NY, 2005-2006 Ryan Humphrey grew up in a small town in Ohio building things in his yard, riding BMX bikes and skateboarding. He then moved to Pittsburgh, Pennsylvania for the next three years to work at The Carnegie Museum of Art and obtain a commercial art degree where he developed an interest in contemporary fine art. This inspired him (along with a scholarship) to attend Ohio University where he earned his BFA in Sculpture. After moving to New York City he received his MFA from Hunter College, paying his way through school by working at The Dia Center for the Arts. After attending The Skowhegan summer residency program in Maine he worked for The Andy Warhol Foundation and participated in the Whitney Museum Independent Study Program. He has exhibited extensively. He currently lives and works in New York City. His work has been featured in the traveling exhibition Will Boys Be Boys? Questioning Adolescent Masculinity in Contemporary Art :Photograph, video, painting and sculpture curated by Shamim Momin of the Whitney Museum of American Art. (it included Slater Bradley, Larry Clark, Lilah Freedland, Tim Gardner, Luis Gispert, Anthony Goicolea, Janine Gordon, Ryan Humphrey, Nikki S. Lee, Julia Loktev, Maria Marshall, Ryan McGinness, Chloe Piene, Jeff Reed, Tom Sachs, Dean Sameshima, Collier Schorr, Type A (Adam Ames and Andrew Bordwin Humphrey's most recent solo exhibition, All of Nothing, was at DCKT Contemporary. Humphrey was also a contestant in Season I of Top Design, Bravo's reality show. Recently, Humphrey was included in the Queens International 4 exhibition at the Queens Museum of Art. His large-scale installation, titled Fast Forward (2009), included BMX ramps adjacent to a wall-to-ceiling assemblage tapestry, collection of trophies and customized BMX bikes, and he continued this theme in his installation Look for the dream that keeps coming back (2010) at Kunsthalle Galapagos. Humphrey expresses his growing up in BMX and skateboard culture through his art. The assemblage also included several paintings, created by the artist for the exhibition, and several sculptures of BMX bike wheels. The paintings were small drips that recall the works of Jackson Pollock, and the BMX sculptures are similar to Marcel Duchamp's Bicycle Wheel. The installation included an opening night performance by legendary BMX pro Dizz Hicks and Ryan Humphrey on the ramps. An edition of 20 silkscreen posters was made by the artist, and signed by himself and Dizz Hicks, to commemorate the event. He was included in the show 5 X 5 at the Whitney Museum of American Art at Philip Morris. Reed Anderson, Rina Banerjee, Susan Graham, Ryan Humphrey and Larry Krone -- each created a work inspired by one (post-1985) from the museum's own collection. Christopher Wool, Donald Lipski...

"WATERFALL" Mixed Media Painting 31.5" x 47" inch by Masha Iv Medium: Mixed Media. Canvas, acrylic, ceramic paint, liquid bronzes ABOUT: Masha Iv is a Russian artist, performer and fashion designer who works in various techniques (painting, graphics, collage, installation, etc.). Masha Iv was born on May 23, 1986. In 2006, she graduated from the Carl Faberge College of Arts and Crafts (Moscow), in 2007 - from the school "Free Workshops" at the Moscow Museum of Modern Art. In 2010, she received an additional education at the Russian Correspondence Institute of Textile and Light Industry. Since 2007, Masha Iv has actively participated in group exhibitions and realized a large number of art projects in Russia and abroad, including such major events as the Moscow Biennial of Young Art (2008) and the Moscow Biennial of Contemporary Art (2009, 2011 and 2013). Cooperates with the State Tretyakov Gallery, the Moscow Museum of Modern Art, the State Darwin Museum. In 2013, Masha Iv creates a special project "Malevich Space" for the "Night of Museums" campaign at the State Tretyakov Gallery, and in the fall of 2014, she works in collaboration with the Tretyakov Gallery on an interactive installation "From Grief to Happiness" based on the works of artist Dmitry Prigov (shown as part of the "Night of Art" campaign). In 2015, Masha took part in large group exhibitions in Moscow: Workshop'15 "SUB OBSERVATIONEM" at the Moscow Museum of Modern Art and the Bartenev Factory project within the exhibition "Say: I love you", also at MMOMA. In February 2017, the artist's first solo exhibition "Mountains: Colorful Music" was held at the A.N. Scriabin House Museum. Among Masha Iv's foreign projects and exhibitions are the performance "Cyclicity", shown at the Women in Paradise festival in Amsterdam, Netherlands (2015), the creation of costumes for the theatrical production "Iphis and Ianthe", shown in Paris, France (2015). In May 2017, Masha Iv's solo exhibition "Adventures in the Mountains" was held in Paris. Since 2012, Masha Iv is a member of the Union of Artists of Russia. Artists statement: The key themes of my works are the study of the natural landscape of our planet, drawing attention to environmental issues and the harmonious coexistence of man and nature. I work in mixed techniques, as I like to experiment with paints on different bases and observe how they interact with each other. Such experiments often lead me to surprising results. I most often find the phrases and captions integrated into my works in in-flight magazines, glossies, advertising campaigns and other print media. More precisely, the right phrases find me on their own at the right time when I'm working on a particular painting. Glimpsed phrases are often stored in our subconscious and sometimes serve as a trigger or set a vector of movement. Motivational phrases in paintings are like beacons that point in the right direction so as not to veer off course. Education 1993-2003 Art school 2003-2006 College of Art and Crafts of the Carl Faberge 2006-2010 Russian Correspondence Institute of Textile and Light Industry 2007 "Free Workshops" at the Moscow Museum of Modern Art Group Exhibitions 2023 «Gift under the tree» «Zdes na Taganke». Moscow. Russia 2022 «Starfall» Gallery «Zdes na Taganke». Moscow. Russia 2021 « House inside out» Rakov Gallery. Saint Petersburg. Russia 2021 «Observers of earthlings» Gallery «Zdes na Taganke». Moscow. Russia 2021 «Mask mode». Gallery «Our artists». Moscow. Russia 2017 «HaHaHa Moscow». Museum Art 4. Moscow. Russia 2017 «START in Art».Gallery K-35. Moscow. Russia 2016 «Legs in water, head's in the clouds» Gallery «Zdes na Taganke».Moscow. 2015 Project « Bartenev's factory» during the exhibition « Say: I love you» Moscow Museum of Modern Art. Moscow, Russia 2015 Workshop’15«SUB OBSERVATIONEM».Moscow Museum of Modern Art. Moscow, 2014 Project «Zu-Zu». State Darwin Museum. 2013 5 Moscow Biennale of contemporary art. Special project “ Book-Art- Botany” 2012 «Original fake...

Notion (2022) Silver circuits hand etched on dyed fiberglass board mounted on linen-wrapped wood. "Notion" is a one-of-a-kind piece by artist Lana O. Lana O's retro-future modern ...

This is a diptych (each half is 24 x 36 inches) and was created by John Platt, a Brooklyn artist who studied at the Boston Museum of Fine Arts and has exhibited extensively in New Yo...

It's OK, 70 cm

Acrylic paint on galvanized steel plates X2 92X140 CM, Thickness 5.5 CM, 2022 Signed on the back

Acrylic paint on galvanized steel plates X2 88X139 CM, Thickness 5.5 CM, 2022 Signed on the back

TITLE: Lost&Found ARTIST: Liw Volpini YEAR: 2019 MEDIUM TYPE: Painting MEDIUM/MATERIALS: Uniposca and enamel on canvas DIMENSIONS: 150 x 100 cm

TITLE: G1903 ARTIST: Ciro Strino YEAR: 2023 MEDIUM TYPE: Painting MEDIUM/MATERIALS: Enamels on canvas DIMENSIONS: 45 x 55 cm

This amazing landscape painting of Telluride, Colorado is a bold and vivid work of contemporary art. The large-scale digital painting, dye-sublimated onto aluminum by Coloradan artis...

TITLE: AR1521 ARTIST: Ciro Strino YEAR: 2023 MEDIUM TYPE: Painting MEDIUM/MATERIALS: Enamels on canvas DIMENSIONS: 52 x 62 cm

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

Acrylic paint on galvanized steel plate 110X86 CM, Thickness 3 CM, 2022 Signed on the back

This is a diptych (each half is 24 x 36 inches) and was created by John Platt, a Brooklyn artist who studied at the Boston Museum of Fine Arts and has exhibited extensively in New Yo...

This is a diptych (each half is 24 x 36 inches) and was created by John Platt, a Brooklyn artist who studied at the Boston Museum of Fine Arts and has exhibited extensively in New Yo...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

Acrylic paint on galvanized steel plates X2 120X155 CM, Thickness 5.5 CM, 2022 Signed on the back

Acrylic paint on galvanized steel plates X2 106X117 CM, Thickness 5.5 CM, 2022 Signed on the back

Acrylic paint on galvanized steel plate 85X92 CM, Thickness 3 CM, 2022 Signed on the back

Acrylic paint on galvanized steel plate 107X70 CM, Thickness 3 CM, 2022 Signed on the back

Acrylic paint on galvanized steel plate 125X52 CM, Thickness 3 CM, 2022 Signed on the back

Acrylic paint on galvanized steel plate 100X62 CM, Thickness 3 CM, 2022 Signed on the back

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

A Playful Disposition 3 by Magdelena Morey [2022] A Playful Disposition 3 is a cheerful, original abstract floral painting by Magdalena Morey. This co...

This painting by Antoinette is a stylish and luxurious mixed media on canvas piece depicting abstract hills shapes with bold use of color and contrast. The dark denim blue background and the azure blue from the ocean 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 gold leaf 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 47 x 47 inches Frame measures 48.5 x 48.5 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...

PaperLandscape is a series of artworks inspired by landscape and nature, nature and the passage change over time, we change nature and nature changes man the connection between man ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

In the “Axis” series, recollection pivots around vivid, etched markers of moments, days, events—an axis of reference points. The work’s surfaces are integral to this exploration—the ...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured acrylics in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic displ...