Panel Abstract Paintings

Mexican-American contemporary visual artist and celebrated architect Javier Arizmendi-Kalb created this abstract painting with bold brush stokes creating strong visual zest and appeal on a small scale. The artist often creates autobiographical paintings that are comprised of both abstract and representational elements that consider the natural world as it intersects with utilitarian and architectural design. 'Light at the End of the Tunnel...

Provenance: Babcock Galleries (bears their label verso.) signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

Artist Commentary: Inspired by a visit to a family member's farm in the Philippines. A short rain shower passed overhead and the sun was briefly obscured b...

Looking Up Mini Quadtych by Emily Finch [2021] original Oil on wood panel Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:5cm Sold Unframed Pleas...

Nature-Inspired Minimalist Abstract Color Field Painting on three panels in light brown and beige Acrylic on 3 wood panels Each panel is 24 x 18 x 2 inches Suggested installation is ...

This piece has a lacquered shine, and it is an oil painting on enamel on wood panel. Alexis Portilla obtained his Masters of Fine Arts at Colum...

Semi Precious (Abstract Painting) Acrylic on wood panel - Unframed. This artwork is exclusive to IdeelArt. The works of San Francisco Bay Area-based a...

Nude Lipstick 2 and You Have Given Me the Moon diptych Overall size cm : H60 x W60 Nude Lipstick 2 by Maria Pierides [2021] original Oil and oil stick on deep edge cradled panel Im...

"Snow on Crocus" is an encaustic with oil paint and beeswax over watercolor, on a cradled panel measuring 10" high by 8" wide. The painting is framed. From Regina Quinn...

“Essence of the Forest” by Catherine Picard-Gibbs is an abstracted nature scene of a forest. This gestural oil painting on panel is painted in a pale...

Abstract geometric three-dimensional wood wall sculpture in bright pastel hues of sage green, light grey, and beige "Turnabout", hand-carved wooden wall sculpture by Hudson Valley ar...

Artist: Maya Kabat Title: Super Spatial 18 Medium: Oil on Canvas on Panel Size: 34x20 in Year: 2020 Price: 3,800

This listing contains a set of Four paintings on panel: Goddess of the Subtle Matrix #1, 2020, by Jeanette Fintz 12 x 12 x 2 inches, acrylic on wood panel Signed verso Goddess of the Subtle Matrix #2, 2020, by Jeanette Fintz 12 x 12 x 2 inches, acrylic on wood panel Signed verso Goddess of the Expansion and Manifestation of All Things, 2020, by Jeanette Fintz 12 x 12 x 2 inches, acrylic on wood panel Signed verso Mistress of Realities, 2020, by Jeanette Fintz 12 x 12 x 2 inches, acrylic on wood panel Signed verso Each panel is $2600 each or $9900 for set of four. D-rings on reverse, simple hanging on two nails Four Contemporary abstract geometric paintings on 12 x 12 inch wood panel in colorful shades of orange, burnt sienna, peach and neutrals with pops of Hot Pink, Black and Cobalt Blue The basic form, comprised of rotating circles stems from a geometric configuration created in a large abstraction from 2019 that strongly evoked a maternal quality because of it’s self generating fractal - like growth pattern. Off - shoots of hexagons and rhomboid shapes extend from the circles like building blocks, cellular connections, the underpinnings of unity at the base level of life Working in a space between planning and chance, Jeanette Fintz presents a series of paintings that fuse gestural and geometric abstraction. This body of work continues Fintz’s use of the circle, ellipse and hexagon; motifs that embody references to nature, architecture and the decorative arts. The small paintings from this series offer a bright burst of form and color that would compliment any modern interior. Jeanette Fintz is an established artist working in the Hudson Valley, NY. She has taught at the School of Design Strategies at Parsons the New School for Design, SUNY Purchase, and Pratt Institute, among other American universities. Her work is collected in both private and corporate collections worldwide. To read more about her career, please scroll down for see her detailed CV and biography. Artist Statement: My paintings evolve in a space between planning & chance, systems & spontaneity, conveying contradictions that I view as metaphors for maneuvering through “real “life. In this work I play a fairly high stakes game of improvisation around a motif. Using a working method akin to jazz, I counterpoint systematically repeated elliptical shapes against gestural pours & drips and something unexpected emerges. I am drawn to create complexity, and challenged to unify multiple layers through the physicality of the paint, which fuses & knits together, as well as, ultimately, through the power of color to stabilize & resolve. The ellipse, which is hypnotic & spatial in repetition, & monumental, but not static as a shape unto itself, embodies references to nature and to the decorative arts which are both alluded to in the paintings. (The egg, the mirror, the vulva, or the shield.) Dynamic visual rhythms, in these pieces, the momentum of the repetitive ellipse, are typical of my work and help to maintain order within complexity. Their sources for me are both musical, notably the poly-rhythms of Latin jazz, Brazilian & East Indian music, and are also derived from the decorative arts, particularly textiles. The latter have been a source of excitement, often contributing a playful aspect to the paintings. I intentionally disturb the regularity of pattern, encouraging discordance & uniqueness, and then bring it back home after finding another by - way to work things through. Color is my most intuitive source of inspiration, connecting me to nature; It is also, ironically, my most passionately calculated element. In the primal struggle among sometimes apparently random components, subtlely modulated color clarifies purpose, builds context, and holds the structure together. The intuitive rhythmic order of Jeanette’s paintings prior to 2009 which featured repetitive lines, circles and ellipses clashing with fluid gestural streams of color have given way fully in the new work to a given crystalline geometric substructure that unifies all visual events. This work embraces and employs the Oneness found in sacred geometry as the underpinning for improvised pathways that give each work its uniqueness. Shapes that are found have a “role” to play, to riff off some of Jeanette’s series titles. The earlier pieces acknowledge through the unexpected visual event, the imperfection of the human condition while the newer geometries strive for the expression of spiritual wholeness and connection. About the artist: Jeanette Fintz is an abstract painter, who resides and paints in Hudson, NY. She is also an arts writer and independent curator. The intermix of being a native New Yorker and now, happily, a resident of the lush Hudson River Valley is evident in her work, which combines an urban edginess with the lyrical influences of her natural surroundings. Ms. Fintz was born in Brooklyn NY, educated at Queens College, The New York Studio School and Boston University. Her personal amalgam of NY School formalist principles, and love of natural light and color was initially forged during her summer at the Skowhegan School of Painting & Sculpture where she painted from the Maine landscape. Ms. Fintz lived and worked in the artist communities of Tribeca and Williamsburg, exhibiting regularly in NYC. Jeanette in part, credits the importance of natural light for her decision to transplant home and studio to Surprise. Ms Fintz has filtered nature through her urban sensibility, stretching color motifs towards the heightened and intensified palette often found in the realms of design and fashion. Her pieces have a rhythmic impact stemming both from her enjoyment of jazz and poly-rhythms of Brazilian and Indian origin, which she also sees displayed in the visual rhythms found in textiles and Islamic tile patterns. Jeanette’s involvement with these resources was enhanced by sabbatical travel to Spain’s Andalusia Region (2005 & 2009) to investigate patterning systems found in Moorish tiles and architecture, and to Turkey (2013), where she focused on the Iznik, Byzantine and Greco-Roman tiles and frescoes. Jeanette also had immersed herself in textile patterns and Ikat designs during her yearlong sojourn in Malaysia, where she was founding faculty in a new Parsons School of Design affiliate in Kuala Lumpur (1996-97). Selected Grants and Awards include 2015 EYP Architecture & Engineering Award, Artists of the Mohawk Hudson Region 2015 Trustees Award, Albany Institute of History & Art 2013 Sabbatical, Parsons the New School For Design 2008 The Emil & Dines Carlsen Award / Painting, National Academy of Design 2005 Sabbatical, Parsons the New School for School Design 2005 Sudden Opportunity Stipend 2003 Faculty Development Award, Parsons, the New School for School for Design 1995-92 Sudden Opportunity Stipend, NYFA Rensselaer County Council for the Arts 1993 N Y F A, Artists Fellowship / Drawing 1990 E. D. Foundation Grant / Painting 1984 Ludwig Vogelstein Grant / Painting 1980 The Ingram Merrill Award / Painting 1975 Purchase Prize, Painting, Skowhegan School for Painting & Sculpture Ms Fintz has taught as an Assistant Professor of Art & Design, in the School of Design Strategies at Parsons the New School for Design for 17 years. At Purchase College, SUNY, Jeanette taught all levels of painting and drawing for 12 years as Assistant Professor in the BFA conservatory program. She also has taught at Pratt Institute, Brooklyn, NY, Hobart & William Smith Colleges, Geneva, NY, The University of Southern Maine, Portland, The University of the Arts, Philadelphia, PA, and SUNY, Albany. Jeanette shows her work at the Garvey Simon Gallery, New York, NY, Fox Gallery, New York, NY, Geoffrey Young Gallery, Great Barrington MA, the Thompson Giroux Gallery, Chatham NY, Cross Contemporary Gallery, Saugerties, NY. Recent projects include a solo show at Garvey Simon Gallery, NY NY (Sept. 7 - Oct, 2017), and a curatorial project, "The Ritual of Construction," at the Kleinert James Center, Woodstock Byrdcliff Guild (May 19 - July , 2017). Ms Fintz’s Residencies and Fellowships include: The MacDowell Colony, The Millay Colony for the Arts, The Ucross Foundation, and Altos De Chavon & Ossabaw Island Project. Jeanette’s selected Visiting Artist spots include Art New England, Bennington College, Bennington, VT, Ohio State University, Columbus, OH, Illinois State University, Normal, IL, Hobart & William Smith Colleges, Geneva NY. Ms. Fintz received her MFA from Boston Universtiy SFA (1975 ), and her BA from Queens College CUNY (1972). She attended the New York Studio School (1972-73), and received a scholarship to the Skowhegan School in 1975. Ms Fintz’s work can be found in many national & international collections. Collections Par Capital Management Boston MA VYV Apartments, Luxury High Rise, Jersey City, NJ Boca Raton Yacht Club, Waldorf Astoria Resort, Boca Raton, FL Liberty Mutual Insurance Company, Boston, MA, and Plano, TX Robert A.M. Stern Architectural Project, Washington DC Capital G Bank Hamilton, Bermuda Brigham & Women's Hospital, Foxboro, MA Wilmer Cutler Pickering Hale & Dorr, Boston, MA Posternak Blankstein & Lund, Boston, MA Hale & Dorr, Boston, MA Analysis Group, Boston, MA National Televison, 7 Kuala Lumpur, Malaysia Christmas Island Phosphate, Singapore Jewish Free Loan Association, Los Angeles CA Rabobank NYC Commerzbank, New York, NY Commerzbank 2, World Financial Center, New York, NY National Television 7, Kuala Lumpur, Malaysia Hobart & William Smith Colleges, Geneva, NY Skowhegan School, Skowhegan, Maine Collection of Minister of Agriculture Datuk Effendi & Datin Norwawi Collection of the Former Prime Minister Datuk Seri Dr Mahathir Mohamed of Malaysia Jim & Debbie Ellickson -Brown, Cultural Attache, American Embassy, Kuala Lumpur Malaysia (1996) Rohana Tan Sri Mahamad, Kuala Lumpur, MY Suherwan Abu, Kuala Lumpur, MY & Singapore Valentine Willie, Kuala Lumpur, MY Aloysious Goh, Singapore Betsey Swan & Chris Calder, Albuquerque NM Carrie Chen & Stanley Cohen Center Hill, Copake, NY Albert & Linda Eskenazi, Montreal, CA Barbel & Peter Starz, Toulouse, FR Clarissa & Jean Kueller, Rio de Janeiro, Brazil Mr. & Mrs. Andre Keller, K L, MY & Geneva, Switzerland Shirley Greitzer, Esq. Washington DC Mark Meltzer, Los Angeles & Palm Springs, CA Joel & Fran Soroka, Aspen, Colorado Estate of Hella and Carl Ossenberg, NYC & Palm Beach, FL Estate of Gabriel Laderman, New York, NY Stephen Westfall, New York, NY Dr & Mrs Joseph Delisi, Lake Hopatcong, NJ Dr & Mrs Chris Calder & Besty Swan, Menands, NY Carol & Joachim Frank, NY, NY Mark Pettygrove, Los Angeles, CA George A Schulman, Los Angeles, CA Gerald De Silva, Los Angeles, CA Caryl Horn, Port Richmond, CA Joe & Cathy Plumber, Cold Spring, NY Molly Doland, Esq. Washington DC Bethany Beardslee Winham, Rhinebeck, NY David Fox & Associates, Inc. Briarcliff Manor, NY Eric & Carolyn Egas, Greenviille, NY & Vieques, PR Jin Zeng, New York, NY Selected Solo Exhibitions 2017 “Worldline Schreiber Paintings, plus...," Garvey/Simon Gallery 547 W 27th St, New York, NY 2016 "The Presence of the Invisible Proposition," Koussevitsky Art Gallery, Berkshire Community College, Pittsfield, MA 2012 "Andalusian Shards," The Wall Street Journal Bldg Lobby, New York, NY 2012 "The Plaid Paintings...

INTERGALACTIC BOTTLE SERVICE is a playful title, it draws the viewer into the work by activating the imagination—that playful part of ourselves that makes artistic creativity possible. I titled this work based on my wife’s reaction, who upon seeing the work exclaimed "It's like drinking champagne on a spaceship!" When viewers look at this piece, I would delight in them having the same reaction, and running away with their imaginations. Now, when I look at this work, I imagine my partner and I propelled five hundred years into the future, where this work is displayed in a very exclusive VIP lounge on a luxury spaceship. Here, in the red velveteen booth beneath this painting the bourgeoisie are wearing white 1920’s...

Broken Bridge (Abstract Painting) Oil on panel - Unframed Ashlynn Browning's recurring use of grids, networks may recall architectural structures, but these are only created in res...

James Havard draws from Native American, African tribal and outsider art for his abstract figurative style which evokes the psychological renderings of a dream. The American artist was known as a pioneer of “abstract illusionism...

Oil & acrylic on panel colorful cityscape childlike abstraction In 2012, Dimitri received Fellowships in Painting from the Vermont Studio Center and the Rhode Island State Council o...

Eddy Lee’s figurative surrealist portrait paintings on exposed wood depict emotive sirens who evoke a sense of mystery and seductiveness. His original artworks combine geometric elements with innocent women portraits seeking to trigger emotions, rather than communicating specific explanations. He reconciles the unconscious with rational life, exploring the power of dreams, embracing automatism, and freeing his subjects from the constraints of conscious thought. This colorful, intriguing portrait is painted with acrylic and gouache on a hand-built cradled wood panel. This one-of-a-kind original artwork is 48 inches high by 36 inches wide and is signed by the artist on the back. It is wired and ready to hang. It does not require framing. Free local Los Angeles delivery. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included with this unique work. Originally from Seattle, Washington, Eddy Lee relocated to Los Angeles in late 2012 to pursue a full-time career as a fine artist. He started his career on the Venice Beach Boardwalk and quickly gained a large following across the United States with exhibitions in San Francisco, Las Vegas, and Los Angeles. The artist’s work is inspired by the works of Audrey Kawasaki...

BOOM! mixed oils on panel 40 x 70 inches (unframed, raw wood sides) $14,500 Joe Ostraff is a professor of art at Brigham Young University. He received a BFA from Brigham Young Univ...

John Randall Nelson’s paintings are layered with his own personal language consisting of patterns, symbols, and archetypes that may not make any literal sense but play on subconscious associations. His paintings are thick with paint, poured pigment and saturated washes with layers of drawing and collage. While Nelson's work is akin to outsider, folk art, it should be noted that he received his MFA from Arizona State University in 1995 and has completed commissions for clients as diverse as the National Endowment for the Arts, the United States Postal Service...

Mixed media on wooden panel - artwork can be shipped only in a crate

Jodi Fuchs creates artworks that speak to the chaos and stillness (and the reconciliation of these two forces) that is inherent in the human experience. She focuses on creating moder...

Semi Precious (Abstract Painting) Acrylic on wood panel - Unframed. This artwork is exclusive to IdeelArt. The works of San Francisco Bay Area-based abstract painter Irene Nelson...

Linear momentum (Abstract painting) Pigmented beeswax, oil and Collage on wood panel. Unframed. This work was created and exhibited at the same time as the series (r) evolution, and was conceived using a similar process: many layers of encaustic are applied, then hand cut squares of Japanese paper which have been dipped in encaustic are mounted on the panel. Finally, each square is covered with clear encaustic medium, then painted with oil to create spatial depth. It was inspired by the artist’s ongoing interest in music and music theory. It is about pattern, rhythm, and intervals of notes as exemplified by the choice and placement of color. Adams has been intrigued by math and serial systems since her days of graduate school at New England Conservatory (Boston, Massachusetts) when John Cage was composer in residence at Harvard University. Tracey Adams is an American abstract painter and printmaker. Her artworks reflect a strong interest in musical patterns, rhythms, lyrical compositional elements and what she calls a sense of performance. She lives and works in Carmel, California. Work by Adams is part of the permanent collections of several museums, including the Bakersfield Art Museum, the Monterey Museum of Art, the Fresno Art Museum, the Tucson Art...

Broken Bridge (Abstract painting) Oil on panel - Unframed Ashlynn Browning's recurring use of grids, networks may recall architectural structures, but these are only created in res...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of blue and pink creates its own essences of form atop washes of whites and green. Spil...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black and pink creates its own essences of form atop washes of whites and yellows. ...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black creates its own essences of form atop washes of whites, yellow and rust. Spill...

Artist Commentary: I create abstract paintings that distill the light, the intense colors, and the constant movement in nature. The final visual is pure, ethereal, and cosmic with n...

Linear momentum (Abstract painting) Pigmented beeswax, oil and Collage on wood panel. Unframed. This work was created and exhibited at the same time as the series (r) evolution, and was conceived using a similar process: many layers of encaustic are applied, then hand cut squares of Japanese paper which have been dipped in encaustic are mounted on the panel. Finally, each square is covered with clear encaustic medium, then painted with oil to create spatial depth. It was inspired by the artist’s ongoing interest in music and music theory. It is about pattern, rhythm, and intervals of notes as exemplified by the choice and placement of color. Adams has been intrigued by math and serial systems since her days of graduate school at New England Conservatory (Boston, Massachusetts) when John Cage was composer in residence at Harvard University. Tracey Adams is an American abstract painter and printmaker. Her artworks reflect a strong interest in musical patterns, rhythms, lyrical compositional elements and what she calls a sense of performance. She lives and works in Carmel, California. Work by Adams is part of the permanent collections of several museums, including the Bakersfield Art Museum, the Monterey Museum of Art, the Fresno Art Museum, the Tucson Art...

Artist Statement: My interest is in creating a permanent record of the impermanence of our world. In considering the exquisiteness of a moment shared, of a new connection, a new tho...

My work is a visual and increasingly literal patchwork quilt containing little and big pieces of myself and the archetypal imagery developed over the course of my practice. Within the paintings are vintage bed sheets...

Minx (Abstract painting) Oil on panel - Unframed Ashlynn Browning's recurring use of grids, networks may recall architectural structures, but these are only created in response to ...

My work is a visual and increasingly literal patchwork quilt containing little and big pieces of myself and the archetypal imagery developed over the course of my practice. Within t...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

By developing a geometry between line and the spaces in between in their work, the abstract paintings of Tayo Heuser create a point of departure for the mind into a spiritual consci...

Shayne Dark is an Ontario-based contemporary visual artist who has exhibited widely both nationally and internationally since he began his artistic career in the mid 1980’s. Taking a...

Abstract artist Andrew Lui’s ethereal work is rooted in history; that of his own in China and the world around him. Lui’s fluid lines and vivid colours were influenced by his love of...

Oil on panel - Unframed Ashlynn Browning's recurring use of grids, networks may recall architectural structures, but these are only created in response to the paint as she works, in...

Chris Trueman has exhibited his work in numerous exhibitions in Los Angeles, San Francisco, Washington DC, Portland and internationally in Milan, Paris, Berlin, Beijing and Brisbane (AUS). The Lancaster Museum of Art and History presented a solo exhibition of his paintings entitled, "Slipstream." His work was also included in the group exhibitions, “To Live and Paint in LA” and "The Subterraneans" at the Torrance Art Museum. His work has been exhibited at numerous art fairs including: Dallas Art Fair, Pulse New York, Art Aspen, TX Contemporary, Pulse Miami and ArtMRKT San Francisco. Trueman graduated from the San Francisco Art Institute in 2003, earning dual BFA degrees in Painting and Digital Media. He relocated to southern California to attend Claremont Graduate University, earning a MFA in 2010. Trueman currently teaches at Chaffey College and has previously taught at Chapman University, Fullerton College and Santa Ana College. He has guest lectured at Chapman University, Pomona College...

Minx (Abstract painting) Oil on panel - Unframed Ashlynn Browning's recurring use of grids, networks may recall architectural structures, but these are only created in response to ...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

Shayne Dark is an Ontario-based contemporary visual artist who has exhibited widely both nationally and internationally since he began his artistic career in the mid 1980’s. Taking a...

Born in Ottawa in 1976, Jean-François Provost holds a Bachelor's degree in Visual Arts from the Université du Québec en Outaouais. He has received several awards and honours for his ...

Eric Blum Untitled No. 903, 2020 ink, silk, and beeswax on panel 83 x 68 in. (blum066) This original abstract mixed media painting by Eric Blum is on view at Kathryn Markel Fine Art...

Acrylic, spray paint, marker, tape & collage on wooden panel Michael Alan is an American artist born in 1977 who lives & works in New York, USA. As a multidisciplinary artist. His w...

ABSTRACTION Mid-Century Abstract Non-Objective Color Field oil American Modern James Daugherty (1887 – 1974) "Abstraction," 11 ¾ x 13 ¾ inches, Estate...

This large abstract painting features a neutral but warm palette. Red, orange, and creme-colored rectangular shapes which are striped, with larger square-like shapes that top several...

The idea behind the picture is to use recycled materials. There are three materials, aluminium, canvas and wood. I like the simplicity and the color, I ll personally like it as it is.

Jason Baerg is a Métis Cree visual artist particularly involved in the transmission of Indigenous knowledge and vocation of taking his artistic practice fur...

mixed media on drafting film mounted on birch panel

Modern, abstract wood construction painting in mint green, teal, navy and sienna. Encaustic on wood panel 12 x 12 inches James O'Shea has been praised for years for his work as a co...

The images reveal undeniable traces of natural phenomena, seeking not to replicate the natural world, but rather to suggest the forces of nature itself. His complex process of mixing...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Jason Baerg is a Métis Cree visual artist particularly involved in the transmission of Indigenous knowledge and vocation of taking his artistic practice fur...

Atmospheric gradations of color are encased in hardened surfaces in a constant push and pull between depth, light and texture. Capturing the effect of light purely with color is wher...

"Cipher One (Sense + Antisense)" is a 24 x 48 inch geometric abstract diptych of two 24 x 24 inch panels in red, black, white and metallic gold that translates snippets of the human ...

Abstract painting made with light green encaustic and brown hemp leaves and branches resembling a tree Happanese, made by Allyson Levy in 2020 48 x 34 inches hemp leaves, branches, a...