Washi Paper Abstract Prints

In Breath of Beyond color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poetic interior landscape. Light tea...

In Signs of Twilight color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poetic interior landscape. Light te...

In Dreams Drift Deep color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poetic interior landscape. The soft...

About: Alena's artistic approach is intuitive and gestural. She often works with a limited color palette of encaustic pigment and uses an iterative and spontaneous approach to apply the media. The final phases of creation sometimes include additional intuitive mark-making, subtle line work and sentimental hand-written text from historical, contemporary, or autobiographical sources. Washi Paper: The texture and slight distress in select areas near certain media application is intentional and intended to be part of the overall aesthetic. Shipping: The artwork will be rolled, shipped in a tube, and take approximately 5 business days. For shorter delivery timelines please message Alena directly to make arrangements. Matte and Frame Ideas: Float frames (glass/no glass over the monotype; glass will "flatten" the monotype) Traditional frames with or without a matte When framing the monotype a light ivory or white matte board illuminates the colors. For assistance and/or advice with framing and mounting the monotypes, please contact me directly. Signature and Certificate All artworks are signed on the back in pencil and include the title, creation year, and my signature. A certificate of authenticity is also included with the artwork. ++++ Alena Ahrens is a contemporary American-Asian artist. She studied performance art at MoMA...

In E'stelle II color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poetic interior landscape. The softness o...

In E'stelle I color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poetic interior landscape. The softness of...

In Just Remember That My Happiness Depends On Yours color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poet...

In With Smiles and Tears color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poetic interior landscape. The ...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

Cropped and double exposed images of palm trees, ocean views, Hawaiian Island scenery, and the facade of an abandoned Hawaiian hotel are represented on 14 x 11 inch Awagami Kozo Japanese paper in Patty deGrandpre’s contemporary abstract monoprint titled “Kauai: Island View Through Sunny Windows ”. Hues of yellow, green, sepia, and pink are thoughtfully combined and layered to create this deconstructed tropical landscape. The windows of the vintage structure...

Richard Diebenkorn woodcut on echizen kozo washi paper 37 x 25" 1987 signed by artist *edition of 200 Framed in a beautiful maple frame. museum plexi glass PERFECT condition! Richard Diebenkorn (1922–1993) maintained his love of vivid color and structured composition in both his abstract and representational works. Born in Portland, Oregon in 1922, Diebenkorn moved with his family to San Francisco in 1924. After attending Stanford University from 1940 to 1942, he joined the U.S. Marine Corps, where he concentrated on art classes. In the winter of 1944, when he was stationed in Virginia, he frequently visited The Phillips Collection, where he was inspired by the paintings of Henri Matisse and Paul Cezanne. He particularly admired Matisse’s technique of structuring space through planes of color, merging indoor and outdoor space. Returning to San Francisco in 1946, Diebenkorn enrolled at the California School of Fine Arts, where he studied with David Park, an expressionist artist from the Bay Area. Awarded a fellowship the same year, he moved East, living and working in Woodstock, New York, visiting New York City, and making many contacts. After returning to San Francisco, where he defined himself as a leading Bay Area artist, he was appointed to the faculty at the California School of Fine Arts in 1947, a position he held for two years; his fellow teachers included Elmer Bischoff, Edward Corbett, Hassel Smith, and Clyfford Still. Diebenkorn had his first one-person show in 1948 at the California Palace of the Legion of Honor. After receiving a degree from Stanford University in 1949, he was awarded an M.F.A. from the University of New Mexico, Albuquerque in 1951. He briefly taught at the University of Illinois at Urbana 1952-53, settling shortly thereafter in Berkeley, California. Diebenkorn often titled his works after places that provided him with inspiration, such as his Berkeley paintings...