William Wray

Destroyer

2021

Painted from life, a bright and colorful seascape of a bay beneath a rich blue sky and reaching lavender clouds. A sliver of dark greens depict a thin horizon. Signed: Angel Ramiro Sanchez in lower right corner Angel Ramiro Sanchez was born in 1974 in Maracaibo, Venezuela. At age six was accepted with full scholarship into the Instituto the Niños Cantores del Zulia, school for musically gifted children. At age fourteen he began five years of apprenticeship with the realist painter, Abdon J. Romero, an eminent specialist in murals for churches and public buildings. In 1993, a study grant from Mgr. Gustavo Ocando Yamarte, Founder the Niños Cantores, enabled him to travel to Florence, Italy, where he studied at the renowned Accademia di Belle Arti, graduating Magna Cum Laude in 1997. At the same time, he was enrolled at The Florence Academy of Art,founded by painter Daniel Graves, where he received a diploma in Painting. Ramiro was appointed senior painting instructor at The Florence Academy of Art in 1997, and is currently Director of the Advanced Painting Program. Ramiro paints only from life, searching for accuracy beyond physical appearance to reach the psychological state of his subject. He believes the painter must draw his information from "all five senses" to tell the complete human story. Ramiros work is predominantly represented by th e Grenning Gallery in Sag Harbor, New York, but also Scriba Gallery, venice, Italy, Jack Meier Gallery, Houston, Tx. Ramiros works can be found in numerous private collections in Europe, The United States and South America. Public collections include: The Fondazione Stelline, Milan, Italy. The Fremantle Foundation for Foreing Artist in Tuscany at Villa Peyron, Florence, Italy and The Muscarelle Museum of Art at the College of William and Mary, Williamsburg, VA. USA. He shares his life and passion for art with his wife, the artist Melissa Franklin-Sanchez. Education 1993-1997 Florence Academy of Art, directed by Daniel Graves, Florence, Italy. 1993-1997 Accademia di Belle Arti di Firenze Graduated Magna Cum Laude, Thesis: Historic and Technical Notes of Academic Realism Today. 1995 Florence, Italy: Michael John Angel...

In the trompe l'oeil panel painting, "Wonder, or the Plane of the Invisible," a comic cut-out of Wonder Woman sits between two spatial planes—the top, very flat plane is cut out in the shape of a plane as a play Wonder Woman's famous "Invisible Plane." The silly way the comic book character would sit in an imaginary seat flying through the air would force the artist to wonder, “how do you represent an invisible plane”. Here, we see a bright blue canvas, sprinkled with glittery paillettes; an outline of an airplane beneath an outline of the word “SKY”, an infantile depiction of the sun made of masking tape, and finally, the hero, Wonder Woman, her comic clipping taped onto the invisible plane. A very believable, naturalist blue sky with puffy white clouds is visible through the letters and the invisible airplane. It feels like we can reach into the invisible plane to find the natural world…yet atop the plane is an old cartoon of the first female superhero. She overlaps the realistic atmosphere, and even casts a shadow onto it. The planet’s orbit is dedicated to the sun, and all living things need the light to survive…yet this most important element is made up of a crude array of tape strips, asymmetrical, and even torn in-half. This sun refers back to Pablo Picasso’s sun...

"Phantasmagorical 4," is an original oil painting on 2 acrylic panels by Michelle Jader. It is framed and ready-to-hang.

"Phantasmagorical 1," is an original oil painting on 2 acrylic panels by Michelle Jader. It is framed and ready-to-hang.

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...

Framed Dimensions: 16 x 16.75 inches