Christine Nguyen Art

mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic pool reflections paintings by artist David Hockney H2O by Erik Pa...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Samson Olatubos...

Mesmerizing large scale photographs from the artist's Seascape series, a body of works capturing the tactile surfaces and monochrome nature of oceanic waterscapes SEASCAPE XVIII Di...

a triptych of epic scale photographs of mesmerizing tactile textile details TULLE (2014) by Christian Stoll photographic triptych 3 individual photos (64 x 48 inches / 163cm x 122...

"Romance de la Pena", Edition 19/20, is a work by Alberto Sanchez. It depicts a female trapezee artist floating in space with birds and is mounted on wood...

Multidisciplinary visual artist Kim Frohsin created the arcane series, Reliquaries, from a variety of media—acrylic paint, glazes, ink, collage, pencils, and dry pigment—built upon pinhole photographs...

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Flow' Flow I by Ch...

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Stratosphere' STRA...

We are the Earth is comprised of a photograph, acrylic paint, found objects in nature (bones, leaves, flowers, stones, crystals) and resin. The base materials for the work consist of a wooden paneled canvas that provides the platform for the adhesion of a rolled photographic canvas, a fine art photography print. The canvas print, in this case a double exposure digital photograph, is adhered to the wood using a clear acrylic varnish. Acrylic Paint is added along with the objects that I found in nature, which are all placed in a careful and meticulous fashion, finally cemented in resin. This specific piece of art was my first large scale piece of its kind, created in my studio in Brooklyn in 2019. This piece was inspired by the colors of my travels, the deserts, trees, mountains and sunsets. The human depicted is myself, it is a self-portrait captured in Great Sand Dunes...

large scale glass mounted photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes f...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Samson Olatubos...

This depicts civil rights icon MLK, the Statue of Liberty, Iwo Jima, an assemblage of mixed media photographic images and painted collaged elements. A powerful, moving work, an ode to the black civil rights movement. John M. Mitchell is originally from North Carolina, and as an art student at North Carolina Central University, he was involved with the Civil Rights movement including participating and getting arrested at a sit-in protest in Durham in 1963. After graduating, he was one of the first art teachers to take a position at the newly integrated schools in his home state. Mitchell continued his education in the 1990s and earned an MFA in painting from the Savannah College of Art and Design in 1993. He later served as a professor there from 1998-2006. Of his inspiration to create, Mitchell says: "A lot of my work is based on my experiences during the Civil Rights movement," he says. "I see art making as a 'record' of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus and narrative of my work." Savannah-based artist John Mitchell believes that a home is more than a simple edifice. Rather, he argues that the sociological, psychological, architectural, and historical associations embedded in the structure “tell us about our culture, our lives. It tells us about where we come from.” Mitchell's signature shotgun house constructions, crafted from found materials and scraps of newspaper headlines, reference his childhood in North Carolina, where such modest architectural structures were once commonplace. In "ALA 1963," he uses the shotgun shape to create a heartfelt memorial to a group of African-American girls killed in a racially motivated church bombing in Alabama nearly 50 years ago. He also incorporates the shotgun symbol in "Victims," a powerful reflection upon crime in Savannah in the early 1990s, which reveals how little has changed over the past two decades. Mitchell's mixed media constructions operate, in many ways, like memory itself. Scraps, fragments and pieces loosely cohere around a central idea, making symbolic and metaphorical connections. In these richly narrative and boldly stream-of-conscious assemblages, the whole truly is greater than the sum of its parts. Mitchell's jazz collages...