Helen Fay

Helen Fay, What’s That?, Penguin Art, Affordable Art, Limited Edition Print

2012

Strolling by Helen Fay [2012] Limited Edition Etching , hand printed on Hanemulle etching paper Edition number edition size 75 Image size: H:21 cm x W:18 cm Complete Size of Unframed Work: H:35 cm x W:30 cm x D:.15cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Original Etching, hand made and hand printed. A king penguin going for a wander. Penguins are the perfect subjects for my work. The graphic qualities and character of penguins make watching and drawing them an absolute joy. Animals have always been at the heart of my work. I find the form, movement and behaviour of the creatures I draw a source of limitless fascination. I love the idea of them watching me, watching them as I draw. I hope my appreciation of the sentience and character of the animals I draw comes across in my work. Over my career I have drawn everything from primates to penguins, dogs, ostriches and even an echidna. These days dogs are my main focus, mostly because I adore dogs but also because they are such an integral part of life. I am delighted by the theory that humans and dogs co evolved, we wouldn’t be what we are without them and vice versa. I try to pare my images down to a balanced simplicity that directs attention to the subject of the picture. I try to balance the subject and the space it occupies, giving each equal importance. Light is hugely important to my work, I imagine my subject in three dimensions as I draw and the light describes the musculature and texture that gives the drawing it’s presence and grounds it in the picture. I aim to capture a pause, a moment where whatever I draw looks like it could wander off or leap up any minute. My influences include Japanese prints, Chinese and Japanese brush drawing and the European artists who were influenced by Japan. I am really excited by composition, by artists like Bonnard and Leon Spilliaert...

Dodo by Artist Mychael Barratt is a limited edition print. The scene depicts a Dodo. The use of material provides the bird with softer features. This makes the work more elegant. Or...

Mixed media (acrylic, gouache,oil) on canvas Miyuki Takanashi is a Japanese artist born in 1961 who lives & works in Sapporo in Japan. She is graduated from Hokkaido University of E...

Sepia-toned gelatin silver print Signed and numbered, verso 24 x 20 inches, sheet (Edition of 35) 39 x 26 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. “Horenstein’s creatures are decontextualized. They appear without the backdrop of the natural landscape, outside even the artificial world of the zoo or aquarium, and devoid of their true color. As a consequence, the images are truly arresting; and in both a literal and a metaphorical sense, we see these animals as we have never seen them before. We notice details, and Horenstein focuses our vision on the unexpected: the foot of an elephant, the eye of an octopus, the hair on the back of a gibbon’s head, the pattern of feathers on a bird’s neck. He plays with scale: the rear end and tail of a rhinoceros occupy the entire picture frame. We see these as if through a magnifying glass. His pictures challenge us to look more closely, to ask questions and make connections. We think about form and function: the relationship between an elephant’s foot, a horse’s hoof, and our own toes. We ponder modes of sensing and communication: the signals that hold together a school of fish. Examining these photographs, we become scientists and discoverers. “In some respects, Horenstein’s work continues a centuries-old tradition of natural history illustration in the realm of photography. In natural history illustration, animals are often presented in shallow space with limited landscape, sometimes even against a blank page, in order to promote close examination and study of detail. But as much as these photographs promote scientific inquiry, they are more than scientific illustration. Animals were the subjects of our first art and our first metaphors; and freed from the constraints of space and time, many of Horenstein’s creatures remind us of the lost magical connection between the ‘animal world’ and our own. They are unsettling and they mesmerize. They transcend and transgress familiar boundaries between subject and object. Who is observing whom? The Komodo dragon looks at us with piercing eyes. We’re transfixed by the gaze of the harbor...