Plexiglass Abstract Sculptures

Steve Baris is interested in the interconnections of the built environment and spatial experience. His artwork is a response to a largely overlooked type of landscape that is emerg...

Nature-Inspired Minimalist Abstract Color Field Painting on 2 Panels in light blue and white with details of earthy brown Acrylic on 2 wood panels Each panel is 36 x 24 x 2 inches Su...

My work bridges the divide between sculpture and painting and drawing. Paintings are geometric masses of color in oil paint and wood dowels, on shaped canvas. Often grouped in d...

All puzzles are cleated 360 degrees on the back and can be hung in any direction - Acrylic, maple and uv resin David E. Peterson. The materials that I use are extremely important...

Jose Margulis is a contemporary artist whose work explores the space where art, science, and philosophy meet. Best known for his three-dimensional geometric constructions, he works w...

Jose Margulis is a contemporary artist whose work explores the space where art, science, and philosophy meet. Best known for his three-dimensional geometric constructions, he works w...

Jose Margulis is a contemporary artist whose work explores the space where art, science, and philosophy meet. Best known for his three-dimensional geometric constructions, he works w...

Abstract composition reverse-painted on an acrylic sheet (Plexiglas) by Laurel Morley (American, b. 1969). Acrylic sheet is mounted on a steel structure with "wings" on either side. ...

Title: "After 77 Years, Again in Fear?" - Mixed Media Assemblage on Canvas Discover the powerful and thought-provoking artwork "After 77 Years, Again in Fear?" by acclaimed contemporary artist Irena Orlov. This original mixed media assemblage, measuring H34" x W57", masterfully incorporates various dimensional elements and techniques, including painting and found objects, to create a captivating abstract piece with a profound global message. Medium and Materials: This extraordinary artwork is a mixed media assemblage on fine art canvas, skillfully hand-stretched over 1" deep wood stretched bars. The artist's creative vision weaves together an intriguing combination of materials, including plastic, original World War 2 chemical gas masks, copper mesh, and small metal round container...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

Nature-Inspired Minimalist Abstract Color Field Painting on three panels in light brown and beige Acrylic on 3 wood panels Each panel is 24 x 18 x 2 inches Suggested installation is ...

Nature-Inspired Minimalist Abstract Color Field painting on three wood panels in shades of cool blues and greys. Acrylic on 3 panels, Each panel is 8 x 24 x 2 inches Panels can be oriented or stacked horizontally or vertically, recommended spacing between panels is 1-2 inches Overall measurement for vertical install with 1 inch spacing: 28 x 24 x 2 inches We are amazed by this artist's ability to achieve multiple flawless layers of acrylic paint, wiping it on and off with cotton cloth, to create a subtle yet distinctive woven texture on a smooth surface. The artist's work is inspired by patterns found in nature such as tree rings, rock lines, ethereal horizons, or water ripples. It appears as though a light source is originating behind the panel, glowing softly in a pale, dreamy green palette. This unique surface spreads all the way to the very edge of each panel. The 2 inch deep sides are cleanly painted white for a seamless finish. These panels hang flush to the wall by resting on two nails on either side of the panel, and can be arranged in any number of ways, highlighting the work's sculptural element. Artist's Statement: My paintings merge the detailed textures and colors found in the natural world with the linear and geometric patterns visible in industrial and architectural structures. The interplay of these elements drives the work and provides a platform for constant change and narrative. By simultaneously layering and removing paint with rags instead of brushes, my hand is directly involved with the process. Each piece contains multiple panels that evoke a nuanced and evolving universe. Ginny Fox builds up each non-representational piece with overlapping streaks of paint that frequently span two or three panels. Working with rags instead of brushes, Fox’s hand moves along parallel paths, emergent colors cascading gently towards the edges of the composition's plane. There’s something vaporous to the outer layers of the work, the interwoven strands of color offering glimpses at the painting’s earthy base and hinting at the artist’s gradual process. Having received her education from New York University in the 1970s, Fox has since exhibited throughout the United States, especially in New York City and the northeastern U.S. RESUME Solo Exhibits 2019 Winterscape Soho20 Bushwick, New York 2017 Perpetual Earth Soho20 Bushwick, New York 2015 Intimate Universe Soho20 Chelsea New York...