Amir Kerr Art

Sonja Brussen – In My Heart Oil on canvas 40 x 100 cm Framed in a white wooden frame Overall dimensions with frame: 42 x 102 cm Frame included in the price In My Heart is an orig...

☀️Taxi Driver - Dachshund and chicks☀️ In the artistic world, animals have always been key protagonists in expressing the power and beauty of the wild. Artists often use animals as ...

Tania Rivilis Yellow mood 40 x 40 cm framed (included in price) 43,5 x 43,5 cm Oilpaint on canvas Tania Rivilis (b. 1986) 2022 winner of the 'William Locke Price' ( £ 30.000 ) fr...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Balloon peacock portrait painting combining wildlife imagery, pop surrealist aesthetics and metallic inflatable surfaces on raw linen canvas. Lady Phasi II is an original acrylic pa...

Baby ostrich bird portrait painting combining minimal surrealism, theatrical shadow and contemporary figurative art on linen canvas. Baby Ostrich is an original acrylic painting by Sofía Cristina Jiménez from her Nobody Puts Baby in a Corner series, a body of work exploring isolation, theatrical space, humor and visual ambiguity through simplified animal figures. Combining bird portraiture, minimal surrealist painting and carefully constructed light effects, the work transforms an apparently simple scene into a subtle meditation on presence and perception. At the center of the composition, a small blue ostrich occupies the corner of an undefined architectural space. The figure appears simultaneously vulnerable and self-possessed, creating a psychological tension that gives the painting much of its character. Rather than presenting a naturalistic environment, the artist constructs a stage-like setting where space remains deliberately unstable and open to interpretation. A defining element of the work is the dramatic projected shadow extending behind the figure. The shadow exceeds the apparent scale of the ostrich and becomes an active participant in the composition, suggesting an alternative presence, a hidden narrative or an amplified emotional state. This theatrical treatment of light introduces a surreal dimension while preserving the painting’s quiet and contemplative atmosphere. Throughout the Nobody Puts Baby in a Corner series, Sofía Cristina Jiménez uses isolated figures to explore ideas of vulnerability, displacement and symbolic identity. Humor and tenderness coexist with subtle psychological tension, allowing the works to operate on multiple levels simultaneously. The exposed linen surface remains visible throughout significant areas of the composition, contributing warmth, texture and material presence. The contrast between the raw support, muted background and concentrated blue figure creates a refined visual balance that reinforces the painting’s sculptural quality. Executed in acrylic on linen canvas, the work functions equally as a contemporary bird portrait, a minimal surrealist painting and a distinctive contemporary artwork for residential and design-focused interiors. Medium: Acrylic on linen canvas Series: Nobody Puts Baby in a Corner Condition: Excellent original condition Frame: Unframed Installation: Ready to hang Authenticity: Unique original artwork This work is particularly suited for collectors interested in ostrich paintings...

This large figurative oil painting is a reinterpretation of a painting by John Wootton, Portrait of a man on horseback, ca. 1740. A unique oil painting on the finest quality Belgian ...

Acrylic painting focusing on a partial, close-up view of an inflatable peacock figure, emphasizing gesture, construction lines, and the visibility of the raw linen support. This wor...

This painting exemplifies Bruno Surdo’s synthesis of Renaissance figuration, Northern allegory, and psychological symbolism. Female figures twist and overlap beneath a lattice of tree branches, while animals—a lamb, fox, squirrel, hummingbird—inhabit the same compressed pictorial space. The interlocking limbs and diagonals recall High Renaissance and Mannerist strategies of sculptural composition, and Surdo’s atelier training is evident in the anatomical precision and volumetric modeling of flesh. Yet the scene feels intentionally dense and claustrophobic. Rather than a pastoral idyll, the forest becomes charged—alive with tension, concealment, and layered meaning. The symbolic animals situate the work within a long art historical lineage. The lamb evokes innocence or sacrifice; the fox suggests cunning and instinct; birds often signify fragility or spirit; the spider embedded in the branches recalls vanitas traditions of the Dutch Golden Age, where small creatures signal mortality and hidden threat. However, the background introduces an additional, more psychological register: the partially obscured eye and the numbers 3, 5, and 7. These are not naturalistic elements; they intrude like fragments from another realm. Their presence subtly aligns with Jungian thought—an area of interest for Surdo—where numbers function as archetypal structures of order within the psyche. In Jungian symbolism, such numbers carry qualitative meaning rather than mere quantity, suggesting stages, wholeness, embodiment, or cycles of psychic development. Their appearance within the forest—traditionally a metaphor for the unconscious—suggests the mind’s attempt to map or structure instinctual terrain. The eye, half-hidden behind branches, intensifies this reading. It can be understood as a symbol of awareness or consciousness emerging from within the thicket of instinct. Rather than divine omniscience, it feels psychological—an archetypal “watcher” embedded in the natural world. The forest thus becomes more than environment; it reads as psychic landscape. Surdo collapses civilization and instinct, rational structure and animal impulse, into a single visual field. Within his broader oeuvre—often concerned with the tension between performance and authenticity, order and chaos—this work becomes a contemporary myth of the psyche. Renaissance form provides authority and structure, while allegorical animals and Jungian symbols suggest the layered architecture of the unconscious. The result is a painting that feels timeless yet inwardly modern: a meditation on innocence, predation, awareness, and the hidden numerical and symbolic frameworks through which the human mind seeks to understand its own wilderness. Bruno Surdo Nature's Web of Dependency oil on canvas 64h x 66.50w in 162.56h x 168.91w cm BRS082 Bruno A. Surdo b. Chicago, 1963 EXHIBITIONS 2021 Ethos + Truth, Gallery Victor Armendariz, Chicago, IL 2020 Realities, Gallery Victor Armendariz, Chicago, IL 2018 Liberation, Gallery Victor Armendariz, Chicago, IL Blood Sport, Gallery Victor Armendariz, Chicago, IL Art on Paper 2018, Gallery Victor Armendariz, Pier 36, New York, NY SOFA Chicago 2018, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2017 POP!ARAZZI, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2015 SOFA Chicago 2015, Ann Nathan Gallery, Navy Pier, Chicago, IL Bruno Surdo: Allegories, Ann Nathan Gallery, Chicago, IL 2014 Bruno Surdo: Respond, Ann Nathan Gallery, Chicago, IL Modern Metaphors, Rockford Art Museum, Rockford, IL 2013 Bruno Surdo: Revelations, Ann Nathan Gallery, Chicago, IL Vice + Virtue, Northern Illinois University Museum of Art 2012 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, IN 2011 Bruno Surdo, University of St. Francis School of Creative Arts, Fort Wayne, IN Uncensored, Ann Nathan Gallery, Chicago, IL 2010 Art Chicago 2010, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2009 Art Chicago 2009, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Bruno Surdo, Art Institute of Indianapolis, Indianapolis, IN 2006 Context/Content: Making Meaning with the Figure, University of Arkansas, Conway, AR Creative Imaginings, Mobile Museum of Art, Mobile, AL Bruno Surdo: Cycles, Ann Nathan Gallery, Chicago, IL 2005 Art Chicago 2005, Ann Nathan Gallery, Chicago, IL 2004 Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Group Show, Arcadia Gallery, New York, NY Drawings VII, Koplin Del Rio Gallery, West Hollywood, CA Armory Show, New York Armory, New York, NY 2003 Paintings & Drawings, College of Lake County, Grayslake, IL The Art Show, New York, NY Bruno Surdo: New Work, Ann Nathan Gallery, Chicago, IL Art Chicago 2003, Ann Nathan Gallery, Chicago, IL 2003-10 International Show of Contemporary Artists, Chicago Art Open, Chicago, IL 2002 Bruno Surdo: Perception of Appearance, Frye Museum, Seattle, WA Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Bruno Surdo: Transcendence, Ann Nathan Gallery, Chicago, IL Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Tragedy, Memory, & Honor, Ann Nathan Gallery, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR 1998 Evanston and Vicinity Artists, Evanston Art Center, Evanston, IL 1996 Bruno Surdo: A Personal View, University of Wisconsin, Kenosha, WI 1995 Bruno Surdo: Recent Works, College of Lake County, IL AIDS in Our Society, Loyola University, Chicago, IL Bruno Surdo: Life, Struggle, and Hope, Chicago Cultural Center, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR Bruno Surdo: Dualities of Life, Ann Nathan Gallery, Chicago, IL 1999 Group Show, Ann Nathan Gallery, Chicago, IL 1998 Group Exhibition, Fine Arts Building Gallery, Chicago, IL 1995 Spiritual Inquiries, Struve Gallery, Chicago, IL 1994 Recent Works, The 14th Annual Juried Exhibition for Lake County Artists, Grayslake, IL Go Figure, Figurative Works on Paper, Chicago Printmakers Collaborative, Chicago, IL SELECTED COLLECTIONS The Re-Birth of Venus, Temporary Loan, Fort Wayne Museum of Art Arkansas Art Center, Little Rock, AR College of Lake County, Greyslake, IL Flashpoint Academy, Chicago IL John Robert Wiltgen Design Shoemaker Ruud Collection Julie & Thomas Danilek Michael Vozzella and Mike Silver Benjamin Fernandez Tom Braake Betsy Colburn Michael Diemand & Lor LaRose Michael Staab & Kathy Brock Bruce Leep Frank Tzurect Mary Foley Rosalyn Carlson Mimmy Turney Janet Long Halstead Billy Hunt Carol Galli Myles Kerrigan Honorable & Mrs. Edwin Berman Theodore Gage Northrop Art Museum Past Present & Future Company Dr. James & Peggy Kemmler Salvatore Monastero Nix & Virginia Lauridsen Joel Miller David & Marlene Zerkel Ann & Andy Abel Claudia Rush Marc Miller Leonard Goldberg Lawrence Pucci Howard Tullman Collection Susan & Manny Kramer James Rinnert Richar Interiors Michael & Nancy Colt Khalid Altijir Dr. Joe Grodman Beryl & Jack Gore Larry Wolf & Eric Naegle Chuck Wolandi Jack Schwab & David Sandelin Thomas Kaczmarek Marti Dinerstein Craig & Michael Golden...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

This oil-on-canvas work, "After the Barber Shop", is a personal piece of young Lithuanian artist. The small-scale work captures her kittens resting in layered plaids - artist creates...

Original Oil "Happiness Is... a Merle Dane" Canvas is gallery wrapped with black sides, perfect as is, or easy to frame. 14" x 11" oil on canvas 'I painted all of my dane's siblings, this one was Maya, so distinguished and beautiful' - AK ABOUT THE ARTIST: Since graduating from the Kansas City Art Institute in 1999, Alyson Kinkade’s artwork has been widely collected and exhibited throughout the U.S. Her work is displayed publicly in the permanent collections of the cities of Little Rock, AR; Downey, CA; Paramount, CA; Loveland, CO; Platte River...