Fresh Perspectives

Untitled (Desktop Dining no. 3), 2016 “The series is a look at contemporary office lunches and I photographed a wide range of offices in the US from trading floors...

This piece was created with real found snail shells and a durable epoxy clay by New York artist, Bethany Krull. She sculpts the undulating snail bodies to circle the delicate rim of...

This large limited edition modern landscape painting of Congaree National Park, in South Carolina, is a bold vivid work of contemporary art. The large-scale digital painting, dye-sub...

Edition of 2 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a soul,...

An acrylic and spray paint abstract drawing of the Gihon River in Johnson, Vermont. This drawing was produced during my November 2017 residency at Vermont Studio Center in Johnson, ...

Ink drawing of female nude standing and leaning against a wall. This is 1 of 2 drawings of Chantel I created during a figure drawing session I attended during my MFA at SVA. Chantel...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and blush of the Peony, and her own col...

This playful piece created by New York artist, Bethany Krull, depicts a vibrantly colored paper-mache chameleon with glass marble eyes clinging to the back of an equally vibrant yell...

HIND LEGS 2020 Paris, France Bold, hand-painted, serif typography on raw wood reads: ‘Hind Legs Adult.' Subtle primitive, animalistic, and sexual tones are injected in this piece. A...

At dusk on that February evening, it was amazing how reflective the water and branches were. It was still daylight with less sun so the hue of the water was a rich teal from the tree...

Ink drawing of a female nude lounging with her socks on because her feet were chilly during the drawing session. This is 1 of 2 drawings of Sarah I created during a figure drawing s...

Inspired by his own exploration of the outdoors and a strong desire for continued environmental preservation, Straus' large-scale paintings take an Original approach to the depiction...

This large limited edition modern abstract animal painting titled Elephant Eyes, is a bold vivid work of contemporary art. The large-scale digital painting, dye-sublimated onto alumi...

On February 3, I visited the river around 6:00 PM. That day I decided to check out the other side of the river. It was an interesting difference as the terrain of the path was wide a...

SILO 2019 New York, New York White abstract shapes made with plaster are situated against a matte navy and stained wood backdrop. Matte crimson abstract lines intersect the white an...

`In;Human Nature` Oslo, 2016 In this series, Christian Houge is inspired by our endeavour to connect Man to both the Cosmos and the Earth. By exploring Nature`s geometry in minero...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and purple elements, and her own collag...

Treasured lighting from daybreak on the river February 3 at 7 AM. When I saw these colors I had to make a painting about it. The richness of the blue-violet in concert with the gre...

Edition of 2 Vintage lens The stunning fine art photography by photographer Laurentina Miksys have been described as opulent, timeless, and emotionall...

Myriad / copper base is a metallic Lambda photographic print, optionally mounted to Plexiglass, laser cut to shape, and fitted with a hidden subframe, ready to install. Work can be supplied unmounted and ready to frame if you’d prefer. The work is individually signed and numbered verso, with both a unique catalogue raisonné number and the edition number for guaranteed authenticity. From an edition of 12 Image size ⋅ 80cm H x 80cm W . Myriad is a study based on a number of ideas for processing digitally drawn sculptural forms, that I was keen to explore further for my Generator show. The drawing progresses from a circular core to a square form at its outer edges, literally squaring the circle. The whole form becoming redolent of a 12” record, perhaps a white label, or similar unbranded sleeve often used for limited releases and remix EPs, a format which of course comprises a circular vinyl disc...

Edition of 5 The stunning fine art photography by photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a soul, image...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the yellow and green fritillary, and her own col...

Inspired by his own exploration of the outdoors and a strong desire for continued environmental preservation, Straus' large-scale paintings take an Original approach to the depiction...

This beautiful soft green paper mache and porcelain elephant topiary sculpture was created by New York artist, Bethany Krull. The pot portion of the...

Psyche D / EvH is a metallic Lambda photographic print, optionally mounted to Plexiglass, laser cut to shape, and fitted with a hidden subframe, ready to install. Work can be suppli...

All available sizes & editions for each size of this photograph: 90 cm. x 120 cm. Edition AP 1 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award twice before with my previous series for both Earth and Power themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

A LUSH SPRING 2021 Paris, France "A Lush Spring" (Abstract Statuesque Lion, Rich Color Palette, Painting on Wood) Playful optimism. “A Lush Spring” is created using a rich color pa...

All available sizes & editions for each size of this photograph: 90 cm. x 120 cm. Edition 7 126 cm. x 170 cm. Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

Traverse the breathtaking landscapes of Big Bend National Park with Topher Straus' captivating Limited Edition artwork, "Big Bend National Park....

Klint / reDux / chrm is a ten colour archival pigment print on 305gsm, 100% cotton, Hahnemühle fine art paper. The work can be supplied unframed, or framed and ready to hang. I tend to use fairly minimal glazed and painted tulipwood frames, and set the work ‘straight in’ under the fillets, without a window mount. If you’d like to discuss other framing choices to suit your space please do get in touch. Individually signed and numbered From an edition of 48 prints, plus 4 APs Image size ⋅ 50.8cm H x 66cm W Sheet size ⋅ 65cm H x 80cm W . Le Klint Studio is an inspiration to anyone who loves paper folding, contemporary design, and light. So, of course, I couldn’t resist making a series of origami like geometries for a new set of works on paper in 2015. Le Klint Studio, to my mind, are particularly well known for their folded paper pendant shades, contemporary designs which are as beautiful as they are ubiquitous. The image I made is not an identikit line work, more an homage based around some of the origami like folds they use, with the addition of colour glazes and offset transparencies. I've also added a grid like structure of darkly shaded lines and accents, that brings the geometry to life. The first piece I drew, ACDH (acid house...

Halcyon / cerulean glaze is a metallic Lambda photographic print, optionally mounted to Plexiglass and Dibond, and fitted with a hidden subframe, ready to install. The edition may al...

Embark on a visual journey through the untamed wilderness of Canyonlands National Park with Topher Straus' captivating original artwork, "Canyonlands National Park." This awe-inspiri...

Palm trees slowly moving in the breeze. Abstract black and white landscape photograph of palm trees, printed by hand in a traditional darkroom on fiber based gelatin silver paper. Si...

`Residence of Impermanence` 2017-2019 90x120 cm. Edition 7 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

The way it started in January 2021 was I had been going for walks at a nearby creek and took photos and videos to hear the sounds at home. Then I got the idea of making abstract pain...

AN URGENT MAN 2020 Paris, France Oil and acrylic on canvas portray a ‘derbyed’ man attempting to shed the weighted armor of his obligations and persona. A very loose nod to the char...

Edition of 1 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a soul...

Ink drawing of female nude lounging on her stomach with her legs up. This is 1 of 3 drawings of Laurel I created during a figure drawing session I attended during my MFA at SVA. It ...

This painting reminds me of the sweet affection between adult and child represented as from the animal as l works. It makes me think of a sweet nursery image.

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and green ranunculus, supportive white ...

This large limited edition modern landscape painting of Colorado's, Golden Sun is a bold vivid work of contemporary art. The large-scale digital p...

`In;Human Nature` Oslo, 2016 In this series, Christian Houge is inspired by our endeavour to connect Man to both the Cosmos and the Earth. By exploring Nature`s geometry in minerology, the outer landscapes of the Moon are juxtaposed to inner landscapes on Earth. Rare minerals...

This print features the playful relationship between natural forms in aging botanicals. In this image Erin uses the natural composition of the pink, peach, blush, and yellow faded zi...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the ivory and greens of the Fritillaria, and her...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the purple and white iris, and her own collage w...

This large limited edition modern mountain landscape painting of Haleakala National Park, is a bold vivid work of contemporary art. The large-scale digital painting, dye-sublimated ...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the orange Peony, and her own collage work, to c...

Klint / reDux / acdh is a ten colour archival pigment print on 305gsm, 100% cotton, Hahnemühle fine art paper. The work can be supplied unframed, or framed and ready to hang. I tend to use fairly minimal glazed and painted tulipwood frames, and set the work ‘straight in’ under the fillets, without a window mount. If you’d like to discuss other framing choices to suit your space please do get in touch. Individually signed and numbered From an edition of 48 prints, plus 4 APs Image size ⋅ 50.8cm H x 66cm W Sheet size ⋅ 65cm H x 80cm W . Le Klint Studio is an inspiration to anyone who loves paper folding, contemporary design, and light. So, of course, I couldn’t resist making a series of origami like geometries for a new set of works on paper in 2015. Le Klint Studio, to my mind, are particularly well known for their folded paper pendant shades, contemporary designs which are as beautiful as they are ubiquitous. The image I made is not an identikit line work, more an homage based around some of the origami like folds they use, with the addition of colour glazes and offset transparencies. I've also added a grid like structure of darkly shaded lines and accents, that brings the geometry to life. The first piece I drew, ACDH (acid house...

This large limited edition modern landscape painting called Bumps is a boldly vivid work of contemporary art. The large-scale digital painting, dye-sublimated onto aluminum by Col...

This painting emerged from the environment where I was painting. At an artist residency in New Smyrna Beach, Florida, I had been enjoying the foliage...

Edition of 2/5 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a so...

Contemporary abstract black and white photograph In its infancy, an organism is pure and malleable. Maturation inherently means encountering outside influences: environments, shifts,...

This beautiful wall piece is hand sculpted in porcelain and depicts the habitat of a beautiful glistening snail exploring its environment which includes towering rocks, an outstretch...

CIVILIZED TO DEATH 2019 Pink painting of a nude figure featuring typography which reads: “Civilized to Death.” A playful commentary on Nihilistic narcissism. Canvas is unframed. O...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and white Magnolia, and her own collage...

SOME SPAIN 2021 Paris, France Graphically bold, yet cerebral, this textured, abstract piece offers a rich color palette. Painted using oil, acrylic and plaster, and executed on an ...

90 x 120 cm Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the...

Elemental / white crest is a metallic Lambda photographic print, optionally mounted to Plexiglass and Dibond, and fitted with a hidden subframe, ready to install. Work can be suppli...

Millefiori / DMG / silver base is a ten colour archival pigment print on 305gsm, 100% cotton, Hahnemühle fine art paper. The work can be supplied unframed, or framed and ready to ha...

Edition of 1/2 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a so...