Abstract Geometric Abstract Paintings

Magical Box Large Abstract On Wood Panel Nicholas Wilton Nicholas Wilton Born 1961, San Francisco, CA. Is known for vibrant abstract paintings that delve into themes of nature, personal experience, and emotional complexity. His work, described as “visual poetry,” is characterized by rich color, texture, and organic forms, creating a complex visual weave that reflects the underlying feelings and intricacies of life. Informed by spontaneity and a balance of opposites, his paintings emphasize the accuracy of feeling over literal representation. Wilton studied at the College of Creative Studies in Santa Barbara, California, and earned a BFA from the ArtCenter College of Design in Pasadena. His work has been chosen for a stamp by the U.S. Postal Service, and featured on book covers such as The Four Agreements by Don Miguel Ruiz. Wilton also founded Art 2 Life, a program dedicated to nurturing creativity and artistic development through workshops and classes. EDUCATION 1979-1983 College of Creative Studies, University of Santa Barbara, CA 1983-1986 Art Center College of Design, Pasadena, CA EXHIBITIONS 2014 Solo Exhibition Caldwell Snyder Gallery, San Francisco, CA 2013 Solo Exhibition Campton Gallery, New York City, NY 2012 Solo Exhibition Caldwell Snyder Gallery, San Francisco, CA 2011 Solo Exhibition Costello Childs Gallery, Scottsdale Three Person Show Stremmel Gallery, Reno, NV 2010 Solo Exhibition Gallatin River Gallery, Big Sky, MT Solo Exhibition: Selby Fleetwood Gallery, Santa Fe, NM Solo Exhibition gallery Jones...

Signed lower left. About the artist: Rolph Scarlett was a painter of geometric abstraction during the American avant-garde movement of the 1930s and 1940s. Born in Guelph, Ontario,...

This hand-painted piece by Lucchetta is part of the op art series where he is able to catch movement with his unique technique. Lucchetta is challenging himself. His precise stable h...

Untitled: Abstract Geometric Acrylic Painting on Paper 2019 Bernardo Navarro Tomas 26 x 34 in This 2019 geometric acrylic painting on paper by Cuban...

Melisa Taylor Metzger’s MH II is a hauntingly immersive optical spray painting on wood, executed with pyrography, airbrushed paint, stencils, and a removed tape grid. The composition...

Oil on canvas.

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

Robert W. Petrick Coincidence Geometric Abstraction East Village NYC, 2022 acrylic on canvas New York, 2nd street studio Colorful geometric abstract ...

URBAN BLOCKS Size: 48 x 63.5 cm (including frame) Oil on board A striking mid-century abstract cityscape rendered in a restrained muted palette, executed in oil onto board. The pai...

That Also Hits the Spot 30.0 x 30.0 x 1.5, 3.0 lbs Acrylic Painting Hand signed by artist Artist's Commentary: "Despite the chaos beneath, playful colors and measured circles can...

This painting is a small framed early work by Heather Hartman. The majority of the canvas is overcast with ivory and grey cloud cover. In the lover left-hand quadrant of the painting...

Sand game 1. 2023, canvas, oil, collage, 50x40 cm Alyona Prokofyeva (1988) From 2016 surname Galaktionova. Alyona graduated Riga art school, Latvian University, receiving a visual...

Rising Tondo by Ilya Bolotowsky, Russian/American (1907–1981) Date: 1972 Acrylic on Canvas, signed and dated bottom, and signed, titled, and dated on verso Size: 47 x 47 in. (119.38 ...

ABOUT THE ARTWORK "AB 5-11" by lyric abstract artist David Kupferman features gentle, light pink hues that provide a serene contrast to his typically ...

Artist: Daniel K. Teis, American (1925 - 2002) Title: Abstract with Checker Pattern Medium: Oil on Canvas signed l.r. Size: 54 x 72 in. (137.16 x 182.88 cm)

Abstract Composition signed by Jacqueline VERDET (French, 1931-2023) oil painting on canvas, unframed canvas: 45.5 x 35 inches condition: the work is in overall very sound and good c...

Composition. 1973, canvas, synthetic tempera, cold encaustic, 87x64 cm Cubistic composition in red, yellow, green, blue colors

An oil painting by Leo Bates from 1976. A prolific artist who operated predominately in secrecy until his death in 2013, Leo Bates produced a number of works never before seen until ...

It’s time to bury the so-last-century idea that folks are either "right-brained,” i.e., naturally creative, or (boringly) "left-brained," always operating logically. And here’s just ...

Ilya Bolotowsky is an important and highly recognized hard edge american abstractionist. He experimented with diamond shaped canvases and circular works as well as square formats wi...

Sand game 3 2023, canvas, oil, collage, 50x40 cm Alyona Prokofyeva (1988) From 2016 surname Galaktionova. Alyona graduated Riga art school, Latvian University, receiving a visual ...

Richard Andres (American, 1927-2013) Naval Occurrence, c. 1963 oil on canvas signed and titled verso 24 x 32 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Oil on canvas, signed lower right.

The abstract print "CY, SOL AND NOT AT ALL 03032019 1211am" is a digital artwork, created with the Brushes Redux iPhone app, and printed at 36x36" on museum-quality Canson Platine Fi...

The abstract print "IMAGINED HEAT SPOTS 06212018 807pm" is a digital artwork, created with the Brushes Redux iPhone app, and printed at 36x36" on museum-quality Canson Platine Fibre Rag 310gsm archival paper. As the title indicates, the artwork was created on June 12, 2018 at 8:07 pm. While Justin Neely...

Robert W. Petrick - City Block Series #1 2021 Acrylic on canvas 40 x 30 x 1.5 inches East Village New York Geometric Abstract Stretched Painting Robert Petrick's paintings create ...

This large-scale painting, executed on an 8 x 4 ft plywood panel, merges the unpredictable, organic marks of pyrographywith with the ethereal softness of airbrushed paint. A meticulo...

This hand-painted piece by Lucchetta is part of the op art series where he is able to catch movement with his unique technique. Lucchetta is challenging himself. His precise stable h...

Sea glass teaches us that beauty can emerge from brokenness. It reminds us that flaws can be transformed into something exquisite, finding tranquility amidst chaos. Using the reminis...

Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she began working in encaustic in 2001. Mary grew u...

Title: Abraçada means "hug" in Catalan. "The constant search for matter with its limitations has led me to work with different elements throughout my career, but it is now with cem...

Lee Sang Yeop is an emerging South Korean artist that at his young age has reached a highly sophisticated level of composition and technique. We can appreciate his tranquil but yet c...

Robert Melee, b.1966, is an American multi-disciplinary artist who has been exhibited extensively in solo and group exhibitions in both national and international venues, including: ...

This diptych contains Field Patterns Blue alongside Field Patterns Blue and Pink. This diptych contains a sophisticated colour palette and considered use of negative space in her com...

Ron Stonier (1933-2001) was a dedicated Vancouver artist celebrated for his exploration of abstract painting, influenced by his mentors Gordon Smith and Jack Shadbolt, as well as by ...

This hand painted piece by Lucchetta is part of the op art series where he is able to catch movement with his unique technique. Lucchetta is challenging himself. His precise stable h...

Painting by Maryanne Pollock titled "Totem". Work is signed and dated 2018 on reverse. Maryanne Pollock received her BFA from Tyler School of Art in Philadelphia and Rome, Italy. She continued studying at the Pennsylvania Academy of Fine Arts, the Corcoran College of Art and Design and American...

Ces McCully, Australian, b. 1982 Untitled (Altar), 2021 Signed and dated CES '21 on the reverse Oil on canvas 39 1/2 x 31 1/2 inches (100.3 x 80 cm) Unframed Ces McCully (born 1982, Melbourne, Australia) Now based in Southern France, Ces McCully is a contemporary Australian artist, whose work is collected and shown internationally. ​ Rachael McCully's oeuvre includes text based pieces which utilize chance in color relationships, and abstract geometric paintings which often have a meditative effect; both sharing autobiographical elements with a reflection on society, and a minimalist approach. "I dabbled in painting, photography, writing and design over the years," before settling more firmly on painting. Feminist icons Cindy Sherman and Barbara Kruger were amongst her inspirations as she began studying art. However now Rachael McCully-Kerwick is forging her own visual language in the south of France. Ces McCully explores themes of female relationships and identity through minimalistic forms, geometric compositions and repeated tribal motifs. Her work, which moves between text pieces and abstract painting, is collected and shown internationally. In McCully’s typography works, she uses vivid colours to create stylised and geometric typographical pieces, divulging secret, and often brutally honest thoughts. Muted-color, cloth-like ‘Patchwork’; geometric and linear works including ‘Mono’ and ‘Shape’; and three-dimensional Cubes with bold colors which brighten up the space. More recently however, we have seen McCully embrace the folk art like characteristics of her work, incorporating religious iconography and human figures into her paintings. Her works are held in private collections internationally and has been shown within Europe and Australia. Mccully has had her work on display in the Louis Vuitton flagship store, Sydney CBD. SELECT SOLO EXHIBITIONS 2022 More Than This, Breach, Miami, USA 2021 Strange Like Me, PIERMARQ*, Sydney, Australia 2019 A Cure for Melancholy, Galerie 42B, France 2017 Beyond the Blablabla Sky, Galerie Rompone, Germany SELECTED GROUP EXHIBITIONS 2022 PINK, PIERMARQ*, Sydney, Australia (with new work by Maximilian Daniels, Gabriele Herzog, Ces McCully, Galina Munroe, Rob Tucker, Andrew Salgado and Spencer Shakespeare). 2019 Bluerider Art Gallery, Taiwan Delphian X Guts Gallery, London, UK (Douglas Cantor, Florence Hutchings, Geoffrey Bohm, Igor Moritz...

"Fandango pink pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January and April 2024 by the artist us...

"Deep ocean blue pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January and ...

"Cold Fusion 3" Stripe infusion Series 2017 acrylic on canvas 18X18" Signed, dated and titled on the reverse side Robert Petrick's paintings create a link between the street cultu...

Abstract Composition signed by Jacqueline VERDET (French, 1931-2023) oil painting on canvas, framed framed: 20 x 20 inches canvas: 19.5 x 19.5 inches condition: the work is in overal...

Untitled #SP-#209 by Murray Duncan Mixed media on paper Size: 32" x 40” Unframed, signed A bold mixed-media work with dynamic lines and textures. This captivating piece by Murray ...

Geometric and gestural abstract painting on canvas in earth tones of beige, tan, and light brown with accents of dark magenta, light sienna, and neon pink Disturbances in the Field, 2019 by Jeanette Fintz 60 x 72 x 2 inches, acrylic on canvas Signed verso Hanging wire on reverse "Disturbances in the Field" is a painting in a series of work created during the year of the pandemic. The artist explains that this painting is about "giving structure to something intangible, ephemeral, in-flux or conversely, revealing the dissolving of structure that has been.” As an abstract artist, Fintz has long been interested in the contrast of hard-edged planar geometry (circles, squares, hexagons) existing within an atmospheric field where shapes can float or hold the plane, in a space that appears expansive, transient and increasingly released from the canvas’s edge. A calculated use of opacity and transparency resulting from fluid washes of acrylic create an atmosphere where fragmented geometry becomes “a vocabulary of gestures”. This work merges white and faintly gold hard edge lines with gentle washes of blue and neutrals. 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. 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...

Sergio Nates Blue Background, 2013 Acrylic on canvas 21.75 x 21.75 inches This one-of-a-kind acrylic painting on canvas is stretched across wooden stretcher bars.

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

This is a one of a kind original geometric abstract acrylic painting on canvas by San Diego artist, Viktoria Romanova. Its dimensions are 9"x12"x1.5". It is unframed. A Certificate o...

In his tribute to Latin American Masters, Morel Orta succesfully reinterprets in his own langauge the geometric play of light and colors favored by Cruz Diez .

Abstract Geometric square mixed media painting on panel in colorful shades with aqua, yellow, pink, light green, and red on a background of brown with yellow highlights Big Little #1...

"Crimson cardinal red pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January ...

James Minden 51906 Holographic style painting- incised plastic and acrylic on wood panel 18 x 18 inches 2019 To get a sense of the holographic effect look at the video on that vime...

This hand painted piece by Lucchetta is part of the op art series where he is able to catch movement with his unique technique. Lucchetta is challenging himself. His precise stable h...

The series "CSW" explores the marriage of chance-derived gestures with exacting grid geometry. Built upon a multilayered convergence of airbrush painting and hard-edge techniques on...

"Poppy red pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January and April 2...

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

This artwork features a tangle of white and blue rectangles and basic geometrical shapes over a textured substrate. On the middle top, aquamrine/turquoise almost vertical bands fall from the top, and a dark red pile occupies the middle of the canvas. Most of Françoise Duprat...

Sand game 2 2023, canvas, oil, collage, 50x30 cm Alyona Prokofyeva (1988) From 2016 surname Galaktionova. Alyona graduated Riga art school, Latvian University, receiving a visual ...

Artist Bio: Carole Eisner was born and raised in New York City and received a BFA from Syracuse University. She has had eight solo shows in New York City at David Findlay Gallery, E...

"Robin egg blue pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January and April 2024 by the artist u...

"Rays" is an original abstract colorist painting by the renowned artist and filmmaker Victor Atkins. This striking work features geometric strips of vivid color, masterfully arranged...