Mel Rea

Bloom by Mel Rea, Framed Encaustic and Resin on Board Abstract Painting

2013

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 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...

Shirley’s love of creating came at an early age. She learned many of her techniques from the time she spent with her depression-era grandmother, making artistic statements from items...

Shirley’s love of creating came at an early age. She learned many of her techniques from the time she spent with her depression-era grandmother, making artistic statements from items...

Lily was born and raised in Atlanta, Georgia. She grew up surrounded by art (her grandmother, mother, aunt, and cousin are all artists). In 2011, her mother, Meg Harrington, opened H...

Borderland III 2020 Encaustic wax on board Image 500 x 500 mm Signed in a Welsh Oak frame Image 50cm x 50cm 2020

Sett , 2019 Perspex, encaustic wax & oil colour on deep-fame board 600 x 600 mm

Solstice 2020 Encaustic wax on board Image 652 x 585 mm Signed in a Welsh Oak frame Image 50cm x 50cm 2020

Borderland I 2020 Encaustic wax on board 500 x 500 mm Signed Image 50cm x 50cm 2020

Borderland II 2020 Encaustic wax on board Image 764 x 578 mm. Signed, In a Welsh Oak frame 2020

abstract 29/29, Original Signed Contemporary Neutral Abstract Encaustic Painting 29" x 29" x 3" Beeswax, Resin, Pigment, and Oil on Wood Panel Hand-signed by the artist in verso. A contemporary minimalist encaustic work by artist Michele Renée Ledoux...