Figurative Paintings

Kathy Grayson explores how day-to-day transitions from analog to digital media affect traditional painting. Fascinated by the transformations of meaning that occur when pictorial tec...

"The Resort" 2019 Oil on canvas 36 in x 36 in 1.5 in deep Welcome to the "Resort"... In the spirit of HBO's the "White Lotus" this seaside painting makes me think about a story. W...

Artist: James, Clarence Title: Logos, Ethos Date: 2023 Medium: Acrylic, Aerosol, Oil Stick on Canvas Unframed Dimensions: 40" x 30" x 1.5" Signature: Signed Edition: Unique Pr...

Artist: James, Clarence Title: Here i am Date: 2023 Medium: Acrylic, Aerosol, Oil Stick on Canvas Unframed Dimensions: 60" x 48" Signature: Signed by Artist on Verso Edition: ...

Emilie Arnoux hails from Normandy, France. From a young age, she became fascinated by the ocean and the laid back lifestyle surf-culture engenders. Her work captures the divine energ...

Paula Cahill's linear abstract compositions are often comprised of a single, luminous line that meanders, changes color, and seamlessly connects back to itself. This piece combines C...

Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all ...

A vision of Paradise which was frozen and even a snake is leaving it. Although the moment is numb, there is a beauty in it.

Free shipment worldwide. Painted on the sides.No frame needed. Signature: signed and dated in the right corner and titled at the verso. Reality or fantasy? What is the difference ...

Silvio Porzionato Matrix Oil on canvas 78.7 x 55.1 inches (200 x 140 cm)

With the distinctive medium of post-it notes, Özmenoğlu re-contextualizes everyday objects from something ordinary to a beautiful work of art. The individualized behavior of each pos...

Inner Portrait is a series conceived of more than 30 paintings that came to life in 2018 and 2019. This project revolves around the idea of self-exploration and will implement a mixt...

A Tropical Monster is from the Indian Ocean, surrounded by fish and partly fish itself, eating people like popcorn. All my underwater monsters are fears of hidden danger, but what ca...

Carmelo Niño Amantes con escena, 2019 Acrylic on canvas 200 x 400 cm 78.7 x 157.4 in. The work is accompanied by a certificate of authenticity signed b...

Original oil painting by Eric Zener. Eric Zener’s photorealistic paintings and resins are focused on four motifs: landscapes, figures in bed or on tightropes, and bodies in water. ...

Oil on canvas

"Fallen Goddess" Oil Painting 59" x 47" inch by Dmitriy Krestniy ATTENTION: Painting ships rolled in a tube. A look through Dmitriy’s designs reveals a glamorous, feminine, provoc...

Leigh Wen’s works reflect her personal and cultural histories. Having grown up on the island of Taiwan, she has a deep affinity for the elemental power of water and the forces of nat...

Running Men by Krzysztof Kokoryn, Polish (1964) Date: 2002 Oil on Canvas, signed and dated lower margin Size: 31 x 40 in. (78.74 x 101.6 cm) Frame Size: 37 x 45 inches

With these pieces Mattia is painting a self-portrait in a unique and creative way without the typical technique of using paint with brush strokes. Mattia starts by creating molds then ice sculptures with color...

TOTÉM DE GRITOS, an oil painting on canvas by Anna Ortiz, measures 48" high x 40" wide. Totém de Gritos is recent work and characteristic of the artist's practice – the palette is re...

"Yellow I" is an original oil painting on canvas by the artist Clovis Pareiko. Beauty and aesthetic have always been a major concern for me. I focus my energy on it because I believ...

"Blue I" is an original oil painting on canvas by the artist Clovis Pareiko. Beauty and aesthetic have always been a major concern for me. I focus my energy on it because I believe ...

Blue Harleking - a beautiful piece from Berlins' Harleking series. This mesmerising painting is cooler and more sculptural in its construct. The sculptural quality & cooler palette d...

Acrylic on canvas. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

"Sally" is a collage painting on canvas by LA-based street artist Amy Smith. She is best known for her empowering images of women and motivational text pieces. You can see her murals...

"Make it Happen" is a collage painting on canvas by LA-based street artist Amy Smith. She is best known for her empowering images of women and motivational text pieces. You can see h...

"Girl with a rooster" is an oil painting by the impressionist Maestro Volodymyr Nosan. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edition : Unique, signed Weight: Approximately 3 kg. The painting has no frame. His paintings bring emotion of happiness, love, pure energy, peace and beauty represented by the vast creative power of his talent.” Dear art lovers, if you like the art of maestro Volodymyr Nosan, please click the link to follow this artist and art gallery Snow Pearl to discover all our artists and beautiful artworks. Thank you so much! we appreciate your interest to our work. Maestro NOSAN VOLODYMYR...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Abstract surrealist collage of a man by contemporary Houston artist Scott Woodard. The work features a portrait of a man from behind assembled out of magazine cuttings. Currently hun...

Chambers transforms the pastoral into the extraordinary. Long before she puts paint to a canvas, her artistic process begins with the simple act of paying attention. From the outside looking in...

Born in Latvia, Kalman Aron(1924 - 2018), survived four years in camps during the Holocaust surviving in many ways due to his natural artists talent. As liberations came with the end of the war, he was able to study art at the Fine Art Academy of Vienna. Kalman Aron spent his life paintings portraits, landscapes, cityscapes as well as imagery from his impression of the war. He was widely commissioned and collected. Observation in Echo Park...

framed size: 82 x 82 x 4 cm Ewa Adams is a landscape painter. Her painting is a contemporary take on Pointillism. She builds her images out of circles of pure colour juxtaposted nex...

Born in Latvia, Kalman Aron(1924 - 2018), survived four years in camps during the Holocaust surviving in many ways due to his natural artists talent. As liberations came with the end of the war, he was able to study art at the Fine Art Academy of Vienna. Kalman Aron spent his life paintings portraits, landscapes, cityscapes as well as imagery from his impression of the war. He was widely commissioned and collected. The Chess Players...

Richly saturated color is applied heavily and expressively in "Snow Bird Wagon." Abound with complimentary color patterns and impressionist technique; Chamb...

"Weed" depicts a simple small town scene. The affable subject matter is then contrasted by the abstract coloration and striking treatment of the medium, serving to imbue the work wit...

Mixed media

"Tomato/Toe Maw Toe" depicts a pastoral scene of flowing flora and fauna. Dispensing with the usual small town affectations that usually inhabit Chambers’ paintings, this work emphas...

In "Moments," Chambers employs warm tones to underscore the placidity of the rural environment. Additionally, the abstraction of the figures and gestural treatment of the paint acros...

Oil on board original painting of a beautiful summer’s day in the park along the Seine in Paris, France. Keith Oehmig, the well known Maine artist recently completed this painting. T...

Oil painting by Nathalie Pirotte

This work was one of Long’s earliest compositions as an artist. Even earlier in his artistic career, Long was interested in exploring the intersection of various media, branching out into new innovative spaces. This work demonstrates the technique and forms at play that have since germinated into Long’s signature style. Bert L. Long Jr., was self-taught artist, was born in 1940 in Texas, grew up the Houston’s historic Fifth Ward and received his formal education from UCLA. Following a career as a successful master chef, Long decided to devote himself entirely to art in the late 1970’s. He began to explore folk art and assemblage to create a unique body of work, attracting the attention of Jim Harithas, then Director of the Contemporary Arts Museum Houston, and artists John Alexander, Salvatore Scarpitta and James Surls. His life spanned an era of radical change in the American social climate, the influence of which can be seen clearly in his work. Long’s paintings and sculptures incorporate a high level of skill and sophisticated knowledge of art history, along with complex philosophical and social issues.  Long describes the philosophy behind his work as "a quest to help people diagnose their inner self," believing his art to be "the vehicle to help facilitate the process." “As artists we have the obligation to provide the world with art which communicates as truth. I believe that art has the power to heal our souls of their afflictions. I try to create art which helps to diagnose the prevalent conditions within our societies, hopefully providing an insightfulness which will help us all become brothers and sisters united in equality and compassion”                                       - Bert L. Long, Jr. The late Peter Marzio, former Director of the Museum of Fine Arts, Houston, said of Bert Long during the major retrospective of Long’s work at the museum: “Bert Long does not avert his gaze from that which is painful, but as [his artworks] testify, he also brings a spirit of joy and redemption to his art. We can all learn from this great artist.” Over Long’s 33-year career as a painter, sculptor, and photographer, he had several solo exhibitions at respected museums and was awarded many significant awards including the National Endowment for the Arts Grant in 1987 and the prestigious international Prix de Rome fellowship in 1990. Other notable awards of Long’s include the Texas Accountants and Lawyers for the Arts Artist of the Year Award in 2009, the Adolph and Esther Gottlieb Foundation Emergency Assistance Grant in 1997, the Houston Art League Texas Artist of the Year in 1990, the NEA Visual Artists Fellowship Grant, 1987 and the Bemis Foundation Residency in 1998. His work can be seen in over 100 private and public collections worldwide, including the Metropolitan Museum of Art, New York, the Dallas Museum of Art, the Houston Museum of Fine Art, the Blanton Museum of Art, Austin, the El Paso Museum of Art, and the Instituto de Bachillerato in Spain. With a recent solo exhibition at the Houston Museum of African American Culture and an exhibition overseas which is pending featuring his work, plus interest from several national museums, Bert L. Long Jr. continues to be recognized as an important African American artist throughout Texas, nationally and internationally. Bert L. Long, Jr. "Untitled" 1977 Acrylic and Paper Collage on Canvas...

medium: acrylic, colored pencil, paint pen, Flashe, ink on canvas JENNY DAY is a painter who lives in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Alaska Fairbanks and a BA in Environmental Studies from the University of California Santa Cruz. Her exhibition record most recently includes the Phoenix Art Museum, Blue Star Art Museum, in San Antonio, TX, Arte Laguna in Venice, Italy, Czong Institute for Contemporary Art in Korea, and Elmhurst Museum in Chicago, IL. Day's work has been supported by an Elizabeth Greenshields Grant in 2018, Contemporary Forum Artist Grant from the Phoenix Art Museum in 2017, a Barron Purchase Award in 2016 and through participation at the Ucross Foundation, the Jentel Foundation, Playa Foundation For The Arts, Kimmel Harding Nelson Art Center, and the Armory Art Center. Jenny Day represented at Jonathan Ferrara Gallery. The artist says of her work... I walked in the Mohave desert. Listened to the bees as they hummed and sucked from yellow creosote flowers. I watched the desert blur by as I drove eighty-miles per hour on I-40. I couldn’t hear the bees. The Mohave backdropped a science-fiction film I watched from my couch...

"Tiger Skin" mixed media painting 58"x46 in by John Paul Fauves 2018 ABOUT John Paul FAUVES: John Paul Fauves (born in 1980) is a contemporary Artist from Costa Rica . His artistic journey started at a very young age after he became a student of Joaquin Rodriguez del Paso , one of the most important Costa Rican modern art tutors. John Paul spent 15 years studying and mastering his technique, and only a few years ago he finally started showcasing his work. In his paintings he engages questions of identity as they relate to art history as well as our everyday interactions with mainstream culture and social media. Greatly inspired by modernist masters as wellas pop-artists, Fauves mixes fragments of different iconic images in vivid and colourful compositions. Of his experimental and high eclectic style, he says, “art is an expression from the soul, and the soul is somethinglimitless. This is why I am always searching for different elements to bring into the work.” 2019: ​ Alts Iz farloyrn, Los Angeles, CA Portraits of Someone, London ​ ​ 2018: ​ [ Mi / Me ] solo exhibition at DOPENESS ART LAB, Taipei, Taiwan Arte de La Peer Papi Chulo group exhibition, Krause gallery, NYC Down the Rabbit Hole group exhibition, Imitate London, London, UK ARCO Madrid Art Palm Beach, Miami ​ 2017: ​ Art Basel Miami PIXELS Pre-Basel group exhibition by JM Art Management at Laurent & Martin gallery LA Style Fashion week FACES, group exhibition by JM Art Management at HOMME gallery A Loss of Innocence, solo exhibition Guy Hepner...

Barbara Friedman’s painting process is exploratory. She paints to discover and likes to be surprised by her work. She sometimes paints over her old paintings while retaining certain ...