Ola Kolehmainen

Sant‘Appolinare Nuovo 504 AD Cappella II – Ola Kolehmainen, Contemporary, Art

2017

Ola KOLEHMAINEN (*1964, Finland) MVSEVM XIII (Victoria & Albert), 2020 Archival Ink-Jet matt prints Dibond mount in Artist Frames Overall dimensions 120 x 275 cm (47 1/4 x 108 1/4 in...

Ola KOLEHMAINEN (*1964, Finland) Selimiye 1575 III, 2014 C-print mounted on composite sheet in Artist Frame Sheet 182 x 148 cm (71 5/8 x 58 1/4 in.) Edition of 4, plus 2 AP; Ed. no. ...

Ola KOLEHMAINEN (*1964, Finland) MVSEVM I (Nefertiti), 2020 Archival Ink-Jet matt prints Dibond mount in Artist Frames Overall dimensions 105 x 240 cm (41 3/8 x 94 1/2 in.) Sheet (Pa...

Ola KOLEHMAINEN (*1964, Finland) 1923, 2011 Analogue C-type print face-mounted to acrylic (Diasec) Sheet 176 x 140 cm (69 1/4 x 55 1/8 in.) Edition of 5, plus 2 AP; Ed. no. 2/5 Framed print About Earlier works: In his earlier works Kolehmainen reduces buildings to their ornamental character. What appeals to him are the geometric grids of façade surfaces, ceiling designs or reflecting window openings on the selected landmarks of architectural history. Where nature meets architecture as a reflection, his minimalist, aesthetic work begins, which was strongly influenced by James Turell...

FABIANO PARISI Il Mondo Che Non Vedo 213 – Italy, 2018 In a rural area, 1 hour away from Milan, still stands this magnificent fresco inside an ancient Villa from the XVII century. Lined with dust and surrounded by detritus, the painting filled the entire room from floor to ceiling. Vibrant colours had faded, but the scenes were still clear. C-Type photograph mounted on Dibond in tray frame 110 x 135 cm 43 1/4 x 53 1/8 in. Edition of 8 (#2/8) (FP025) Parisi began his career as a photographer following a degree in Psychology, coming to photography through a project photographing derelict asylums, which sparked his interest in the abandoned buildings which are the subject of his art practice today. He has two ongoing series: The Empire of Light and Il Mondo Che Non Vedo (The World I Do Not See). The latter title is taken from a collection of poems by Fernando Pessoa...

Paul Kowalow, Untitled 03, 5-10-15 series, c-print on supra endura, 2010 :: Photograph :: Color :: This piece comes with an official certificate of authenticity signed by the artist ...

Presence - Signed limited edition archival pigment print, Edition of 3 Signed + numbered by artist with certificate of authenticity , unframed This is an Archival Pigment print on f...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach RIOUX is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. --- RIOUX started the Renaissance project in 2016. Renaissance further develops themes explored by RIOUX in his earlier series Turquoise Default. It is not merely a progression however, but also a contrast. This new series poses questions about hope, which is perhaps now more relevant than ever. “Renaissance invokes in us a sense of uncertainty and a self-awareness of our limits, of an infinity made apparent by the horizon line, the vanishing point, the moment in any spatial or temporal projection beyond which we can no longer see, but from which, nonetheless, we know the universe carries on. At the same time it poses a choice to us: do we accept the openness of abstraction or do we insist on imposing a (false) certainty of representation in what we see in these images. Hope is a faith made possible by uncertainty and the unknown, by an understanding that history and the future are creative acts, works of art in which we all participate.” Neal Rockwell There are 18 pieces in the RENAISSANCE collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery...