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Diana TremaineLevity II2017
2017
$4,000
£3,041.82
€3,508.60
CA$5,603.27
A$6,271.16
CHF 3,274.53
MX$76,508.57
NOK 41,565.82
SEK 39,443.40
DKK 26,200.54
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About the Item
Floating transparent summer beach ball in abstract red and blue from Diana Tremaine, whose large-scale, dynamic oil paintings reflect a search for truth and meaning through the human experience. Tremaine develops brushstrokes and marks by adding and then obliterating some of the story in a free-association editorial process of discovering what is most important and lasting. The melancholy images echo her experiences in an autobiographical fashion, but are also universal, touching upon and evoking our collective memories like ghosts of what was. There is visual poetry in these surfaces, including the tension that exists when simultaneously holding on and letting go.
'Levity II' 30 x 30 inches painted traditionally with oil on canvas is ready to hang. Framing is not required. Artist signed, dated and titled verso.
The bicoastal New York City-born artist studied and taught in both Northern and Southern California. She later moved to Montana—in a search for spiritual space and room to breathe—where she works and lives with her family and horses.
Presented from Andra Norris Gallery in Burlingame, CA.
- Creator:Diana Tremaine (American)
- Creation Year:2017
- Dimensions:Height: 30 in (76.2 cm)Width: 30 in (76.2 cm)Depth: 2.5 in (6.35 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Burlingame, CA
- Reference Number:Seller: TRED1stDibs: LU37531937983
Diana Tremaine
Diana Tremaine is a bicoastal New York City-born artist who studied and taught in both Northern and Southern California. She later moved to Montana in search of spiritual space and room to breathe, where she now works and lives with her family. She uses swans as a metaphor for beauty and resilience rising above chaos during difficult times. Tremaine's dynamic, representational and nature-centric oil paintings reflect a search for truth and meaning. Tremaine develops brushstrokes and marks by adding and then obliterating some of the stories in a free-association editorial process of discovering what is most important and lasting. The melancholy images echo her experiences in an autobiographical fashion, but they are also universal and touch upon and evoke our collective memories like ghosts of what was. Created with a limited palette, there is visual poetry in her surfaces, including the tension that exists when simultaneously holding on and letting go. Tremaine has exhibited widely and with success.
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