JP Terlizzi

Pin Cushion, archival pigment ink photograph, signed and numbered

2021

Cherry On Top, limited edition photograph, archival, signed and numbered Holding Arabesque is an inward reflection that investigates our relationship with food and nostalgia and ho...

Cup Runneth Over, limited edition photograph, archival photograph, signed Holding Arabesque is an inward reflection that investigates our relationship with food and nostalgia and ...

Horn of Plenty, limited edition photograph, archival ink, signed and numbered Holding Arabesque is an inward reflection that investigates our relationship with food and nostalgia a...

Cupcake Sundae, limited edition photograph, archival photograph, signed Holding Arabesque is an inward reflection that investigates our relationship with food and nostalgia and how...

An original piece from the series "Small things". Oil, pencil and charcoal on paper, 30 x 30 cm, 2012. My house is full of little things. An infinity of unnecessary items accumulate...

Photo/ print a part of a pattern from a renowned Czechoslovak designer Jindrich Halabala. This size is an edition of 15 and signed by the author. Different size of the original also...

The work I am exhibiting at Art on Paper is in some way a tribute to my mother, who celebrated life on every occasion; she celebrated in a big way even the most insignificant moments...

There are two Little Oil installations available with 6 sculptures each on top of LED light boxes. Little Oil 19 is a digital photographic print on aluminum for the flat files. Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization. Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...