Frances A. Cox

Pears

2004

Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washington University, St. Louis, Missouri, and his Master of Fine Arts in 1983 from the ...

To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour. This is a beautiful large botanical oil painting of ...

Oil on three canvases Signed, verso 43.3 x 29.5 inches, each 43.3 x 88.6 inches, overall This artwork is offered by ClampArt, located in New York City. Born in Bologna, Italy, in ...

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DIRTY OR CLEAN? depicts a grouping of laundry consisting of solid colors as well as striped patterned shirts in a photo representational rendering. Sauer meticulously creates a composition of organized chaos that is shown to exemplify the beauty in the mundane. This piece appears as part of a two-person exhibition with Jason Stout in April 2021 at Channel To Channel...

Continuing a series of formal investigations that blur the lines between representational, flat, and abstract painting approaches, I created Untitled Construct 3. As with previous wo...

Sauer often creates paintings that are rendered from dream encounters. "Can something be perceived as both ordinary and absurd? When does it crossover from one realm to the other? W...

PIECES OF ME, FOR YOU by Victoria Sauer depicts a subway-tiled bathroom meticulously painted in a photo-representational way with the artist's own hair ...

"I don’t do enough red paintings. I like red, but somehow it doesn’t end up in my work all that often, or it ends up pretty muted and earthy by the end. When I was lighting the sculpture upon which this painting is based, I knew I wanted to do something with the red lights I had. As with previous work, this painting explores entanglement as both a compositional structure and as an artistic idea. The representational part of the painting is pushed as close to a photographic rendering as I could at the time. Meanwhile, I’ve contrasted that with flat graphic elements. I also wanted to do something interesting with the cast shadow of the form: whereas in some previous works in the series the main form either had a traditional cast shadow grounding the it to the illusion of a ground plane, or no cast shadow which left it floating within the shallow depth of the image, in Untitled Construct 5 I wanted to do something more specific with the cast shadow. The idea came to me to invert it to be pure white. Technically this was a bit of a challenge because the whitest oil paints take months to dry – so this work had quite a bit of ‘sit and wait time’ between layers. Personally, I enjoy the composition of this painting because the red attracts the eye towards the bottom left of the painting, but the contrasting movements in black, gray and white pull the eye up and over...