Barbara Takenaga

"Untitled III"

2022

Barbara Takenaga has had fun embellishing the last prints in the editions – Switchback State I and State II from 2011 – with extensive hand coloring. She has inverted and rearranged ...

Barbara Takenaga has had fun embellishing the last prints in the editions – Switchback State I and State II from 2011 – with extensive hand coloring. She has inverted and rearranged ...

Color lithograph with hand coloring and pearlescent powder. Ed. 25 The artist describes this project: I like the sense of that in-between time of blue light in this print - betwee...

Color lithograph, Edition 30. Barbara Takenaga is a painter who made her first lithograph at Shark’s in the summer of 2002. Her abstract works are full of repeated, obsessive mark...

A dramatic mixed media on canvas painting with wonderful details and pops of purple, green and light lavender. We are enamored by the stark contrast, as the shape of the paint takes ...

Ross Bleckner (American, b. 1949), "Selection Sequence", Etching and Aquatint in Colors on Paper, 2002, marked "AP5" lower left, signed in pencil and dated lower right, unframed. Ima...

With layers of bright oils and whisking brush strokes, the paint is able to shine and shimmer in a very unique pattern. The artist uses gold leaf with thick textured oils and glass t...

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow