Larry Martin

Contemporary Blue and Green Toned Abstract Portrait Painting of a Female Face

21st Century

Sculptural relief image of the biblical story from Genisis 28:12 about Jacob's Dream of a ladder reaching up to the heaves from the earth. The work is done on wood and it painted and lacquered over. It is signed by the artist in the bottom right corner. Artist biography: The Mississippi-born Dixon is a self-taught artist. A teacher spotted Dixon’s talent, when he was the first black student to take an art course in his newly integrated high school. Carl decided to get vocational training as a brick mason, but he returned to art-making, when his childhood friend, Ben Oliver, persuaded him to try his hand at wood carving on a router machine. The two aspiring artisans began making decorative address signs but soon moved on to bas-relief portraits of Michael Jackson, Prinz, and other black pop cultural icons for neighborhood kids. (Carl made an image in this style of my father, Andy the Prayer Warrior.) Dixon was inspired to create carved wood paintings...

Minimal abstract figurative painting was done in a neutral-toned palette. The work is framed in a silver frame with a white matte. The work is signed in the bottom corner by Erika Kl...

Unique painting of three figures painted on paper bags. The work is signed and dated by the artist in the bottom corner. It is framed in a black frame with a white matte background. ...

Gray, red, yellow, and black abstract figurative painting by Houston, TX artist and Reeves Art + Design owner Paul Reeves. This painting depicts multiple faces against a background o...

Red and brown abstract contemporary painting by Houston, TX artist Clementa Garcia-Lassaulx. This painting depicts pop artist Andy Warhol rising from underneath the Earth covered by ...

Colorful whimsical abstract contemporary painting by Houston, TX artist Moisés Villafuerte. This painting depicts a dark-themed evening scene featuring a man in a baby blue ruffled cloak holding a skull. The figure is accompanied by several visual elements such as a bull's head, some fruits, flowers, candles, and a cauldron on the side. This scene is set against a dark ocean...

Ellen De Meutter Paint 2, 2007 Acrylic, ink and oil on canvas 31.5 x 23.6 in (80.0 x 59.9 cm) Provenance: Secrets & Lies show at her American gallery Roberts & Tilton, LA in 2007 Ellen De Meutter (1981) teaches painting at the Royal Academy of Fine Arts of Antwerp. In 2006-2007 she followed the HISK programme in Ghent, in 2013-2014 she did a residency at the Jan Van Eyck Academy in Maastricht. De Meutter is represented by Tim Van Laere Gallery since 2006. (they represent Tal R, Marcel Dzama, Tomasz Kowalski and Franz West) Her work has been shown in various exhibitions in Belgium, the United States, Italy, Spain, the Netherlands, Germany and Japan. In 2010 she had her first solo museum exhibition in Museum Dhondt-Dhaenens. Ellen De Meutter alters her viewer's reality by presenting a language in which she classifies the figures, shapes and colors from her personal world into a captivating utopia. Contrary to current trends in Flemish art, De Meutter is not simply relaying an anecdote; she composes unique imagery that allows her to experiment with the placement of the subject and unique treatments of her medium. De Meutter's repertoire of vivid, semi-neon colors contrast the muted grays blacks and grays on which they lay. These seemingly energetic colors are at once enhanced by the dark undertones of the canvas below, while simultaneously insinuating a concealed gravity of subject. Belgian art critic and curator, Luk Lambrecht remarks on De Meutter's painting: "she folds back 'her' world onto itself, into a solid mass of color from which, very slowly, vague contours emerge, which safeguard our expectations about looking at an image." De Meutter's scenes are reminiscent of schoolyard games, incorporating a series of text and symbols. By combing figurative imagery with basic abstraction, Ellen De Meutter creates wildly successful compositions that allude to her comprehensive understanding of contemporary painting. She was included in the show, Tomorrow is a long time: Ellen De Meutter, Gelitin, Kati Heck, Anton Henning, Friedrich Kunath...

Text by Donald F. Andrus. The initial impression to be gained from Jinny M. Yu’s new paintings is that of a wonderfully expressive, repetitive/obsessive, linear calligraphy of visual ‘static.’ The grammar of parallel horizontals of paint barely conceals the punctuation marks of paint which seem to exist simultaneously above, behind and within that linear energy field. In sifting out these marks, one begins to realize that they may also act as a visual metaphor for natural forms such as marsh sedge and grasses. Yu seems to have initiated the use of repetitive horizontal striations of pain found in her most recent work about a year and a half ago in Montréal. However, by comparison, the painting in Montréal gave the impression of a much more dense and impacted textural physicality in which all of the action of the paint occurs most emphatically on top of and across a resistant surface. In that sense this earlier painting was absolutely consistent with the effect which Yu expected from her usual practice of encaustic painting as her medium and process. So it is a surprise to find the new work to be painted on large sheets of paper using mixed mediums such as ink, acrylic and watercolour and in which, while still present, the encaustic medium plays a more subdued role. The result is that the most recent paintings have obtained a new weightlessness, translucency and mobility of painterly form and space. Furthermore, the new paintings are to be embedded into the surface of the gallery’s walls. They will be absolutely flush with the surrounding wall surfaces and, in fact, appear to be painting on the surface. Since the work will not project outward from the wall, will not cast a shadow in fact, the actual installation of these new paintings will continue the action of the paintings themselves, appearing to vibrate, slightly above, or behind, the wall surfaces. For Yu, this installation system, together with the interlace effect and the 3:4 proportional format of some of the paintings, makes reference to the television format. To some degree the process has to recall Gerhard Richter’s paintings...

Gray Scale Study for Pure Painting 1, 2016 Acrylic on museum board mounted to board Artwork size - 8 x 6.5 inches Framed Size - 16 x 20 inches signed and dated on recto Lee We...

Leandros Pigades Pame, 2015 acrylic on canvas 74 x 80 cm

Dynamic black and gray strokes of acrylic paint give the impression of galloping horses in this abstract painting by Andrew Lui. Lui continues to use the expressive and elegant movem...

Abstract artist Andrew Lui’s ethereal work is rooted in history; that of his own in China and the world around him. Lui’s fluid lines and vivid colours were influenced by his love of...