Maureen Naughton

Rectangle Concerto, Maureen Naughton Framed Abstract Encaustic and Gold Leaf

2018

It only took us a second to fall in love with Amy Sullivan's abstracted barns and structures. Oozing with texture and media, her large-scale and slightly off-kilter renditions of the familiar shapes take on a whole new meaning that are simultaneously, as Amy says, "ever elusive and always familiar." Her beautiful tonal and abstracted landscapes are full of complexity that the layers of medium bring. Sullivan says, "My process is an intuitive exploration of simplicity. I am fascinated with negative spaces contradicted by positive mark-making." She likes to begin her paintings with a small study in oil and wax (which are as lovely as the finished pieces, we promise you!) And then, with her keen eye, she searches for the potential of intrigue and paradox. "Carving into the wax and paint, penetrating masses of space with sharp edges, I respond to the tension of defining space and object in an almost sensual way," she tells us. We especially appreciate the way Amy describes that fleeting moment when she knows a painting is complete: "Ever intrigued with the irony of painting, I wait for the voice that says ‘hurry, hurry'. When I'm finished, and I know that the work is complete, there is a feeling inside that says you're home...

It only took us a second to fall in love with Amy Sullivan's abstracted barns and structures. Oozing with texture and media, her large-scale and slightly off-kilter renditions of the...

It only took us a second to fall in love with Amy Sullivan's abstracted barns and structures. Oozing with texture and media, her large-scale and slightly off-kilter renditions of the familiar shapes take on a whole new meaning that are simultaneously, as Amy says, "ever elusive and always familiar." Her beautiful tonal and abstracted landscapes are full of complexity that the layers of medium bring. Sullivan says, "My process is an intuitive exploration of simplicity. I am fascinated with negative spaces contradicted by positive mark-making." She likes to begin her paintings with a small study in oil and wax (which are as lovely as the finished pieces, we promise you!) And then, with her keen eye, she searches for the potential of intrigue and paradox. "Carving into the wax and paint, penetrating masses of space with sharp edges, I respond to the tension of defining space and object in an almost sensual way," she tells us. We especially appreciate the way Amy describes that fleeting moment when she knows a painting is complete: "Ever intrigued with the irony of painting, I wait for the voice that says ‘hurry, hurry'. When I'm finished, and I know that the work is complete, there is a feeling inside that says you're home...

It only took us a second to fall in love with Amy Sullivan's abstracted barns and structures. Oozing with texture and media, her large-scale and slightly off-kilter renditions of the...

It only took us a second to fall in love with Amy Sullivan's abstracted barns and structures. Oozing with texture and media, her large-scale and slightly off-kilter renditions of the...

It only took us a second to fall in love with Amy Sullivan's abstracted barns and structures. Oozing with texture and media, her large-scale and slightly off-kilter renditions of the...

This is an abstract encaustic painting by Linda Bigness. It features a green, blue, and grey multicolored palette with gold leaf accents and neutral sides. Dabs of paint and organic ...

This is an abstract encaustic painting by Linda Bigness with silver and gold leaf on board with neutral sides. The painting features a multicolored palette with vibrant teal, red, ye...

This abstract floral encaustic painting by artist Linda Bigness features a cool blue palette with metallic gold leaf accents. The painting is made with e...

Encaustic, oil paint, carving and 21k moon gold leaf on wood panel Lisa Ostapinski is a painter and art educator based in Oakland, CA.  She works with unusual materials and processes including metal leaf gilding, encaustic painting (beeswax), sgraffito and oil paint marbling.  Her work juxtaposes archaic media with modern forms producing a fresh, contemporary take on these art historical techniques.  Lisa’s imagery pulls from a diverse array of sources including textile and jewelry design, architecture, modern painting, the natural world, scientific illustration...

Anthony Benjamin, 'Intitled', acrylic and gouache on gold leaf board, image size 8" x 10", 1999. Artist Estate Stamp on verso Provenance: From the Artist Estate A Gallery Certificat...

Anthony Benjamin, 'Green Dots', acrylic and gouache on gold leaf board, image size 9" x 12", signed and dated 1999. Artist Estate Stamp on verso Provenance: From the Artist Estate A...