Wood Abstract Photography

King's Best, ‘Neck’, 2001 by John Reardon Edition of 7 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This piece is part of : (after) Whist...

It's really majestic piece. It's grand in size and its got a very beautiful and impressive contrast in shades. This piece is something very special... two Luminograms in one work of...

ATO>MIC #3, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Custom Framed: museum mount-board with antireflective UV protective art glass in dark brown lacquered hardwood frame, /hand made in UK/ 23 x 18 cm (image print) 40.5 x 36 cm (Framed) Unique Series: ATO>MIC Signed and dated in pencil on verso Provided with the Certificate of Authenticity “The ATO>MIC work started as an attempt to replicate the idea behind still life painting - where you are trying to reproduce the image of solid looking things, things that could be on a shelf. So, I wanted to try doing that with just using light instead of paints - however I soon started to see the similarities with Harold Edgerton’s famous atomic explosion photos and how the scale of my work could be switched between small items on a shelf to enormous atomic explosions. That is the reason behind the strange title ATO>MIC - where the “>” is a kind of link between larger and smaller scales, between the two influencing ideas.” – Mike G Jackson The images (from the ATO>MIC series) may be reminiscent of the first milliseconds of atomic bomb explosions captured by Harold Edgerton's Rapatronic camera in the early 1950s but also visualise the thought of Maholy-Nagy’s bold visions in the Bauhaus’s movement toward the idea of the Gesamtkunstwerk, or “total work of art.” The 3D concepts that were first expanded in the same art movement by El Lissitzky a hundred years ago, are also explored here by Jackson’s drowned thin line within the third of the image. In his vision, the line reflects a shelf with the object on top, by adding the weight to it, the gravity pushing them down. Or maybe the thin line is just the horizon, where the enormous atomic blast took place…? Beyond these flat forms of two dimensional ‘lumino-graphic’ works on paper, the purest form of photography (‘light drawing’) lays a visible path to three-dimensional imaginary world, realised in precise composition, rhythm and warm earthy tones of these works. It’s up to the viewer to decide what they prefer to see and take with them. As Wassily Kandinsky once said; “Imagination is what allows your mind to discover.” About the Artist: Michael G Jackson...

ATO>MIC #8, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Framed: Custom made frame with antireflective UV protective art glass 23 x 18 cm approx. image size 38 x 35.5 cm (Framed) Unique Series: ATO>MIC Signed on verso Provided with the Certificate of Authenticity “The ATO>MIC work started as an attempt to replicate the idea behind still life painting - where you are trying to reproduce the image of solid looking things, things that could be on a shelf. So, I wanted to try doing that with just using light instead of paints - however I soon started to see the similarities with Harold Edgerton’s famous atomic explosion photos and how the scale of my work could be switched between small items on a shelf to enormous atomic explosions. That is the reason behind the strange title ATO>MIC - where the “>” is a kind of link between larger and smaller scales, between the two influencing ideas.” – Mike Jackson The images may be reminiscent of the first milliseconds of atomic bomb explosions captured by Harold Edgerton's Rapatronic camera in the early 1950s but also visualise the thought of Maholy-Nagy’s bold visions in the Bauhaus’s movement toward the idea of the Gesamtkunstwerk, or “total work of art.” The 3D concepts that were first expanded in the same art movement by El Lissitzky a hundred years ago, are also explored here by Jackson’s drowned thin line within the third of the image. In his vision, the line reflects a shelf with the object on top, by adding the weight to it, the gravity pushing them down. Or maybe the thin line is just the horizon, where the enormous atomic blast took place…? Beyond these flat forms of two dimensional ‘lumino-graphic’ works on paper, the purest form of photography (‘light drawing’) lays a visible path to three-dimensional imaginary world, realised in precise composition, rhythm and warm earthy tones of these works. It’s up to the viewer to decide what they prefer to see and take with them. As Wassily Kandinsky once said; “Imagination is what allows your mind to discover.” About the Artist: Michael G Jackson...

Dennis Hopper, (American, 1936-2010) Mixed media sculpture "Outmolding Older Concepts (Wilhold Up the Mirror)", 1961, photo and assemblage, Ace gallery and Easy Rider Production labels verso 27"h x 40"w x 5"d. There is broken mirror glued into the wooden collage box with the ceramic head that is attached to the front. I assume that is how it was made. Provenance: Estate of Pentti Kouri, NYC; Ace Gallery, Los Angeles; Exhibited MOCA, Los Angeles, 2010 From a 1997 interview with Hopper where he references this piece "Right now it's very intense. I had a show that travelled Germany, about 15 different museums. Sunday we go to Denmark; I'm showing the early assemblage I did in 1961 which was the signal for conceptual art. I'm just two days there, then I'm going to Venice to meet Julian Schnabel - Count Volpe's given us a place to paint in Giudecca. Then I'm going to Documenta in Germany to hang another show, then I go back to LA on the 21st and start a film on the 23rd." Notes/Literature: Dr. Pentti Kouri(1949-2009) was a Finnish economist and venture capitalist with partner George Soros. He built his prestigious art collection with the goal of opening a private art foundation focused on his interests in Minimalism, Arte Povera, Conceptual and Text-based art. He was a member of the Board of Trustees of Dia Art Foundation, and on the boards of Tate, London and the Guggenheim Museum, New York. In addition, a portion of his collection forms the core of the Kiasma Museum of Contemporary Art in Helsinki, Finland Hopper made his film debut alongside James Dean in 1955's Rebel Without a Cause. Both lost souls from dysfunctional households, they gravitated to each other, smoked dope and took joy rides. When Dean died, Hopper saw himself as the natural inheritor of his rebellious mantle and, revelling in his nickname of "Dennis the Menace", gave it to Hollywood with both barrels; so they dropped him. Dennis didn't make another Hollywood movie for seven years. Frustrated by the deliberate stifling of his film career, Dennis turned to art and photography for creative stimulus, beginning with abstract subjects such as landscapes. His cutting-edge conceptual art became established round the world, with exhibitions in major cities. At home in the dining room stood one particularly interesting work, a white plastic box, eight feet long, that had an aluminium shaft sticking out of it, and two very large balls. It was called The Perpetual Erection Machine. Before Tracy Emin and Damien Hirst, there was Dennis. In 1961, Hopper took part in an international photography competition in Australia with a contribution of five abstract photos, which he called Pieces. He won first place. Soon after, Hopper married Hayward, daughter of the film producer Leland Hayward, whose credits include The Sound of Music and South Pacific. The wedding party of Hopper and Hayward was held in August at the apartment of actress Jane Fonda, a childhood friend of Hayward, who introduced Hopper to her younger brother Peter Fonda. Their daughter Marin was born in 1961, and they moved to Bel Air, California. Soon afterward the famous Bel Air fire destroyed their home, including approximately three-hundred Abstract Expressionist works and hundreds of pages of poetry that Hopper had begun in the mid-1950s. Hopper and his actor friends Dean Stockwell and Russ Tamblyn were close to many artists in California, especially assemblage artists Edward Kienholz...

Kalee Appleton's work blurs the line between drawing, sculpture and photography, while challenging the traditions of photography by exploring technology and materiality. This work investigates the complicated relationship between society and the nature by displaying visual platitudes of idealized depictions of flora. By controlling and restricting the physical frame to a gesture, a mark reminiscent of a photoshop post-production brush stroke, digitally manipulated imagery is manifested into a physical object that wavers from a flat 2D photograph to a 3D object. The digital nature of the altered photographs is repeated or obviously falsified through various digital techniques. This digital-ness is transferred to the physical realm through the display within irregularly shaped wooden frames that contradicts the materiality of what is typically associated with a solid wooden structure and creates a sense of cohesion between natural and virtual motifs. Kalee Appleton is a photography-based artist and Assistant Professor of photography at TCU in Fort Worth, Texas. Originally from Hobbs, NM, she attended Texas Tech University and received a BFA in Photography in 2005. Shortly after graduated she worked as a commercial corporate and aviation photographer before attending Texas Woman’s University, where she received an MFA in Photography in 2014. Kalee's work deals with the digital technologies and their effects on society and the landscape. She exhibits her artwork with Erin Cluley...

Kalee Appleton's work blurs the line between drawing, sculpture and photography, while challenging the traditions of photography by exploring technology and materiality. This work investigates the complicated relationship between society and the nature by displaying visual platitudes of idealized depictions of flora. By controlling and restricting the physical frame to a gesture, a mark reminiscent of a photoshop post-production brush stroke, digitally manipulated imagery is manifested into a physical object that wavers from a flat 2D photograph to a 3D object. The digital nature of the altered photographs is repeated or obviously falsified through various digital techniques. This digital-ness is transferred to the physical realm through the display within irregularly shaped wooden frames that contradicts the materiality of what is typically associated with a solid wooden structure and creates a sense of cohesion between natural and virtual motifs. Kalee Appleton is a photography-based artist and Assistant Professor of photography at TCU in Fort Worth, Texas. Originally from Hobbs, NM, she attended Texas Tech University and received a BFA in Photography in 2005. Shortly after graduated she worked as a commercial corporate and aviation photographer before attending Texas Woman’s University, where she received an MFA in Photography in 2014. Kalee's work deals with the digital technologies and their effects on society and the landscape. She exhibits her artwork with Erin Cluley...

Kalee Appleton's work blurs the line between drawing, sculpture and photography, while challenging the traditions of photography by exploring technology and materiality. This work investigates the complicated relationship between society and the nature by displaying visual platitudes of idealized depictions of flora. By controlling and restricting the physical frame to a gesture, a mark reminiscent of a photoshop post-production brush stroke, digitally manipulated imagery is manifested into a physical object that wavers from a flat 2D photograph to a 3D object. The digital nature of the altered photographs is repeated or obviously falsified through various digital techniques. This digital-ness is transferred to the physical realm through the display within irregularly shaped wooden frames that contradicts the materiality of what is typically associated with a solid wooden structure and creates a sense of cohesion between natural and virtual motifs. Kalee Appleton is a photography-based artist and Assistant Professor of photography at TCU in Fort Worth, Texas. Originally from Hobbs, NM, she attended Texas Tech University and received a BFA in Photography in 2005. Shortly after graduated she worked as a commercial corporate and aviation photographer before attending Texas Woman’s University, where she received an MFA in Photography in 2014. Kalee's work deals with the digital technologies and their effects on society and the landscape. She exhibits her artwork with Erin Cluley...

Desert canyon road (Abstract Photography) Mix media, C-print, and acrylic paint on a wood mount - Unframed Artwork exclusive to IdeelArt. Artworks are of the highest archival standa...

Ancient schemes, Minds etched, Unetched (Abstract painting) Mix media, C-print, and acrylic paint on a wood mount - Unframed Artwork exclusive to IdeelArt. Artworks are of the highe...

Ouroboros suns desert road (Abstract painting) Mix media, C-print, and acrylic paint on a wood mount - Unframed Artwork exclusive to IdeelArt. Artworks ar...

Kalee Appleton's work blurs the line between drawing, sculpture and photography, while challenging the traditions of photography by exploring technology and materiality. This work investigates the complicated relationship between society and the nature by displaying visual platitudes of idealized depictions of flora. By controlling and restricting the physical frame to a gesture, a mark reminiscent of a photoshop post-production brush stroke, digitally manipulated imagery is manifested into a physical object that wavers from a flat 2D photograph to a 3D object. The digital nature of the altered photographs is repeated or obviously falsified through various digital techniques. This digital-ness is transferred to the physical realm through the display within irregularly shaped wooden frames that contradicts the materiality of what is typically associated with a solid wooden structure and creates a sense of cohesion between natural and virtual motifs. Kalee Appleton is a photography-based artist and Assistant Professor of photography at TCU in Fort Worth, Texas. Originally from Hobbs, NM, she attended Texas Tech University and received a BFA in Photography in 2005. Shortly after graduated she worked as a commercial corporate and aviation photographer before attending Texas Woman’s University, where she received an MFA in Photography in 2014. Kalee's work deals with the digital technologies and their effects on society and the landscape. She exhibits her artwork with Erin Cluley...

Kalee Appleton's work blurs the line between drawing, sculpture and photography, while challenging the traditions of photography by exploring technology and materiality. This work investigates the complicated relationship between society and the nature by displaying visual platitudes of idealized depictions of flora. By controlling and restricting the physical frame to a gesture, a mark reminiscent of a photoshop post-production brush stroke, digitally manipulated imagery is manifested into a physical object that wavers from a flat 2D photograph to a 3D object. The digital nature of the altered photographs is repeated or obviously falsified through various digital techniques. This digital-ness is transferred to the physical realm through the display within irregularly shaped wooden frames that contradicts the materiality of what is typically associated with a solid wooden structure and creates a sense of cohesion between natural and virtual motifs. Kalee Appleton is a photography-based artist and Assistant Professor of photography at TCU in Fort Worth, Texas. Originally from Hobbs, NM, she attended Texas Tech University and received a BFA in Photography in 2005. Shortly after graduated she worked as a commercial corporate and aviation photographer before attending Texas Woman’s University, where she received an MFA in Photography in 2014. Kalee's work deals with the digital technologies and their effects on society and the landscape. She exhibits her artwork with Erin Cluley...

Kalee Appleton's work blurs the line between drawing, sculpture and photography, while challenging the traditions of photography by exploring technology and materiality. This work investigates the complicated relationship between society and the nature by displaying visual platitudes of idealized depictions of flora. By controlling and restricting the physical frame to a gesture, a mark reminiscent of a photoshop post-production brush stroke, digitally manipulated imagery is manifested into a physical object that wavers from a flat 2D photograph to a 3D object. The digital nature of the altered photographs is repeated or obviously falsified through various digital techniques. This digital-ness is transferred to the physical realm through the display within irregularly shaped wooden frames that contradicts the materiality of what is typically associated with a solid wooden structure and creates a sense of cohesion between natural and virtual motifs. Kalee Appleton is a photography-based artist and Assistant Professor of photography at TCU in Fort Worth, Texas. Originally from Hobbs, NM, she attended Texas Tech University and received a BFA in Photography in 2005. Shortly after graduated she worked as a commercial corporate and aviation photographer before attending Texas Woman’s University, where she received an MFA in Photography in 2014. Kalee's work deals with the digital technologies and their effects on society and the landscape. She exhibits her artwork with Erin Cluley...

Captain Nelson (29 Palms, CA) - 2007 37x49x3.5cm, Edition 1/5. Artist Inventory No 4033.01. Analog C-Print, Hand-printed by the artist, mounted on a wooden box with matte UV-Prot...

Meta Road, Individuate, California Hwy 1 (Abstract Photography) Photograph Acrylic Paint on wood mount - Unframed Artwork exclusive to IdeelArt. Artworks are of the highest archival...

Vanishing Point, Sky Valley (Abstract Photography) Photograph Acrylic Paint on wood mount - Unframed Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. W...

Vanishing Point, Sky Valley (Abstract Photography) Photograph Acrylic Paint on wood mount - Unframed Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. W...

Shift / World View (Abstract photography) Photography. Painting. Wood support. Varnished with uvls protective coating - Unframed. Artwork exclusive to IdeelArt. Artworks are of th...

Wind (Abstract photography) Photography. Painting. Wood support. Varnished with uvls protective coating - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest arch...

Feel, Canyon Road (Abstract photography) Photography and paint on wood - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. Wood supports are...

Huis Clos Exit Here (Abstract photography) Photography and paint on wood - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. Wood supports a...

Real (Abstract photography) Photography and paint on wood - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. Wood supports are sealed with ...

Feel, Canyon Road (Abstract photography) Photography and paint on wood - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. Wood supports are...

Wind (Abstract photography) Photography. Painting. Wood support. Varnished with uvls protective coating - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest arch...

Huis Clos Exit Here (Abstract photography) Photography and paint on wood - Unframed. Artwork exclusive to IdeelArt. Artworks are of the highest archival standards. Wood supports a...

Shift / World View (Abstract photography) Photography. Painting. Wood support. Varnished with uvls protective coating - Unframed. Artwork exclusive to IdeelArt. Artworks are of th...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

Jennifer Wolf utilizes layers of painted silk and mineral pigments to add luminous depth to her exquisitely moody abstract landscapes.

Luanne Rimel is an artist, curator, instructor, and currently the Director of Education Programs at Craft Alliance Art Center in St. Louis, Missouri. Her work is layered with historical dialogue and tactile intrigue through both technique and concept. Rimel prints her original photography on repurposed flour-sack cloths using a wide-format inkjet printer. Detailed sections of the image are created and layered, collaged and hand stitched onto the cloth, referencing earlier domestic practices of mending and repair, reuse and repurposing. The delicate, repetitive hand quilting across the surface creates shadows and textures and alludes to the marking of time. Her photographic imagery and textile work has been exhibited both nationally and internationally, including Japan, China and Korea, and is in many private and corporate collections. Her work is traveling in Quilt National 2013 and was in QN 2011. She has exhibited in the 2012, 2013 and 2014 Smithsonian Craft Shows. Her work will also be included in the new book, Art Quilts of the Midwest, published by the University of Iowa Press. Other exhibitions include a solo exhibit at the Missouri Botanical Gardens, St. Louis, MO, Art Quilt Elements, Wayne, PA, and the Chicago Cultural Center, Chicago IL. Luanne received an MFA in Fibers from Southern Illinois University and has taught numerous workshops and classes around the country. Public Collections Museum of Women in the Arts, Washington, DC Museum of Arts and Design, New York, NY Royal Caribbean International Corporate Collection, Silhouette Cruise Ship Sara and David Lieberman Collection of Contemporary Baskets, MADMuseum, New York, NY Gloria and Sonny Kamm Foundation, Fuller Craft Museum, Brocktom, MA "Protected" Photograph Printed on...

Geister or 'Ghost Ship' series from Nina Dietzel. Stunning on own, or paired with other images from the series. Surface mounted to polished plexiglass so that the photograph appears ...

"Unforgotten Series No 2" is an archival pigment print on fine art paper, mounted on birch panel and resin coated. This is a wonderful colorful and abstract urban inspired artwork. ...

"Unforgotten Series No 6" is an archival pigment print on fine art paper, mounted on birch panel and resin coated. This is a wonderful colorful abstract artwork with text and pink ba...

Materials : Multimedia Date : 2016 Dimensions : 8″ x 6″ Anna Minnick's work explores the struggles of identity and mental illness. She hopes her work forms a dialog about these issu...

Luanne Rimel is an artist, curator, instructor, and currently the Director of Education Programs at Craft Alliance Art Center in St. Louis, Missouri. Her work is layered with histori...

This is a new series of photography of land art depicting Earth and its land forms taken from the air. This series of aerial photography captures Earth's beauty taken in remote lands...

Luanne Rimel is an artist, curator, instructor, and currently the Director of Education Programs at Craft Alliance Art Center in St. Louis, Missouri. Her work is layered with histor...

Signed and numbered limited edition 1 of 6 + 3 AP. Sides are a dark wood espresso color for an elegant finish on the edges. About Anne Valverde: Parisian photographer fascinated by urban spaces and graphism of landscapes. She notably tries to make dream about people by photographs of idyllic decors. In her job, she links calligraphy and light, her two main passions. After digital processing, high-resolution prints are exclusively developed on silver paper. The purpose of her photos: be imaginative springboards, "windows with views". Since 2016, she has been working on the DREAM ART project: a neon set-up she photographs through many countries, a writing made of light on desert landscapes. Through the medium of neon, she revives the essence of the word "photograph", which means "writing with light" in Greek. In 2017, the DREAM ART project grew with new destinations such as Le Cap...