America Martin

Striped Kimono_America Martin_Oil/Acrylic/Canvas_Portrait_Figurative_Pastel

2017

America Martin "The Exchange of Flowers (Diptych)" Oil & Acrylic on Canvas 94" x 38.125" Each 94" x 76.25" Overall Exploring the identity of both her na...

America Martin "The Waiter" Oil & Acrylic on Canvas 80.125" x 41.125" Framed Exploring the identity of both her namesake and country, LA-based America Mart...

America Martin "Woman with Book of Poems" Oil & Acrylic on Canvas 78.75 x 68.75 in. Framed ______________ Exploring the identity of both her namesake and country, LA-based America M...

America Martin "Welcoming Summer" Oil & Acrylic on Canvas 61.5 x 73.5 in. Framed Exploring the identity of both her namesake and country, LA-based America Martin draws inspiration f...

America Martin "Woman with Bell Flowers" Oil & Acrylic on Canvas 37.5" x 37.5" Framed Exploring the identity of both her namesake and country, LA-based America Martin draws inspirat...

America Martin "Woman in Blue" Oil & Acrylic on Canvas 31.5" x 31.5" Framed Exploring the identity of both her namesake and country, LA-based America Martin draws inspiration from h...

"Beginning of New Story 2" is a thought-provoking piece of artwork that captures the beauty and simplicity of everyday life. Created by contemporary artist, Gobe Joseph, this piece i...

The patient waiting for Bresson's “decisive moment” characterizes the pictures of the young Polish painter Marzena Slusarczyk. The compositions of her works have the magic of a successful photography. Often with a powerful neckline, they use expressive foreshortened perspectives and unusual versions and they take us into an intimate dimension of the women portrayed. However, Slusarczyk's pictures are mainly emotions captured on canvas, and this is what makes her works so special. The women she paints perform normal, banal activities in everyday life. But they are the key to reading the feelings of the female figures lost in thought. The lack of clarity in the artist's pictures allows the viewer to make their own interpretations. As the painter herself emphasizes, the aim of playing with the audience is to awaken the viewer's imagination and imagination so that they notice the seemingly invisible. This mystery and the unspoken are reminiscent of the paintings by Michelangelo Caravaggio...

Sensational paintings of glass vessels come to life in this dynamic exhibition featuring new works by Korean artist Inkyeong Baek. Demonstrating an uncanny ability to capture her sub...

Sensational paintings of glass vessels come to life in this dynamic exhibition featuring new works by Korean artist Inkyeong Baek. Demonstrating an uncanny ability to capture her sub...

The medium of choice for Do Byung-Kyu, born in Cheonan, Korea, is dolls: they are both his conceptions and his physical expression. At the same time dolls are also the perfect tool for communicating the artist’s inner self. Expressing himself by means of dolls liberates Do from the restrictions of the mundane world. By embodying in the form of dolls his actions and thoughts, dreams and desires, and even the instincts lying in the depths of the subconscious, he transcends the secular boundaries. Dolls are his alter ego, his other self that he can construct precisely the way he wants. Sublimating the experiences and memories from his youth into various subjects of desire, Do uses dolls to paint a descriptive picture of the ambiguous feelings of contradictions from his childhood when he would abuse and kill a plaything, for example a frog, then bury the body in solemn mourning over its death. These sexual or violent games from his childhood are not likely to be limited to Do’s experiences alone. Most of us can vaguely remember indulging in sadistic acts of sexual love against a doll. Rising above a child’s simple curiosity, it is an intuitive game of the senses we play by ourselves. In a number of Do’s paintings, sticky liquid can be observed dripping down a doll’s face. This brings back recollections of the life inside our mothers’ womb where we were also enveloped by mucous waters, like the amniotic fluid. It refuses contact with the anything, and nothing wants to touch it either. The shape of such a mucous liquid is a protective layer sheltering the intrinsic identity and desires of man. It is also a substitution that satisfies the ego’s instincts otherwise suppressed by social norms. The dolls’ eyes...

The medium of choice for Do Byung-Kyu, born in Cheonan, Korea, is dolls: they are both his conceptions and his physical expression. At the same time dolls are also the perfect tool for communicating the artist’s inner self. Expressing himself by means of dolls liberates Do from the restrictions of the mundane world. By embodying in the form of dolls his actions and thoughts, dreams and desires, and even the instincts lying in the depths of the subconscious, he transcends the secular boundaries. Dolls are his alter ego, his other self that he can construct precisely the way he wants. Sublimating the experiences and memories from his youth into various subjects of desire, Do uses dolls to paint a descriptive picture of the ambiguous feelings of contradictions from his childhood when he would abuse and kill a plaything, for example a frog, then bury the body in solemn mourning over its death. These sexual or violent games from his childhood are not likely to be limited to Do’s experiences alone. Most of us can vaguely remember indulging in sadistic acts of sexual love against a doll. Rising above a child’s simple curiosity, it is an intuitive game of the senses we play by ourselves. In a number of Do’s paintings, sticky liquid can be observed dripping down a doll’s face. This brings back recollections of the life inside our mothers’ womb where we were also enveloped by mucous waters, like the amniotic fluid. It refuses contact with the anything, and nothing wants to touch it either. The shape of such a mucous liquid is a protective layer sheltering the intrinsic identity and desires of man. It is also a substitution that satisfies the ego’s instincts otherwise suppressed by social norms. The dolls’ eyes...