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Christine Romanell Art

American
Christine Romanell’s colorful wall sculptures and installations explore non-repeating patterns informed by cosmology and physics, while rooting itself in applied design similar to Islamic patterning. Her use of rotational symmetry to generate dimensional forms allude to movement and create an event horizon, a space where the infinite tessellations of universal physics can intersect with patterns, collapsing the divide between the theoretical and the real. Romanell lives and works in New Jersey where she’s on the board of Manufacturers Village Artists space in East Orange. She is the founder and editor of NotWhatItIs art blog. Her work has been discussed in Hyperallergic, MIT Technology Review, Art and Cake, ArtFuse, ArtSpiel and WoArt. Her sculptures have been included in ArtPrize and she is a recipient of an NEA grant for her work through Chashama in NYC. She has lectured at Pratt University and taught at the College of St Elizabeth. Her BFA is from the School of Visual Arts (NYC) and her MFA is from Montclair State University (Montclair NJ.)
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Artist: Christine Romanell
Infinite Diversity Aqua Geometric Wall Sculpture Three Dimensional Circular Art
By Christine Romanell
Located in New York, NY
Infinite Diversity Aqua Geometric Wall Sculpture Features A Bold Three Dimensional Design With Interlocking Circular Forms That Evoke The Movement Of Ocean Waves And Marine Life. Cre...
Category

2010s Abstract Geometric Christine Romanell Art

Materials

Birch, Plywood, Acrylic

TriVortex
By Christine Romanell
Located in New York, NY
Christine Romanell’s TriVortex is a mesmerizing acrylic-on-laser-cut-wood construction that fuses sacred geometry, optical illusion, and vibrant color theory into a dynamic three-dim...
Category

2010s Abstract Geometric Christine Romanell Art

Materials

Birch, Acrylic

Convergence
By Christine Romanell
Located in New York, NY
Christine Romanell’s bold geometric wall sculpture bursts with vibrant color and dynamic movement, showcasing her signature use of sacred geometry. This three-dimensional constructio...
Category

2010s Abstract Geometric Christine Romanell Art

Materials

Birch, Plywood, Acrylic

Cosmic Sunflower, a Vibrant Yellow Geometric Wall Sculpture with Optical Depth
By Christine Romanell
Located in New York, NY
This striking geometric wall sculpture features intricately layered, swirling shapes that create a mesmerizing sense of movement and depth. With precisely cut, radiating forms in war...
Category

2010s Abstract Geometric Christine Romanell Art

Materials

Birch, Acrylic

Mars Sucks a Circular Geometric Sculptural Wall Relief with Reds, Blues, Greens
By Christine Romanell
Located in New York, NY
Christine Romanell's "Mars Sucks" (2025) is a sculptural wall piece measuring 14 x 18 x 3 inches, composed of acrylic and Flashe on seven layers of laser-cut birch plywood. Predomina...
Category

2010s Abstract Geometric Christine Romanell Art

Materials

Birch, Plywood, Acrylic

Green Satellite a Colorful Three Dimensional Circular Geometric Wall Sculpture
By Christine Romanell
Located in New York, NY
This is a perfect example of Christine Romanell's wall mounted abstract sculpture based on her interests in sacred geometry. It is a small size for the artist making it a piece that...
Category

2010s Abstract Christine Romanell Art

Materials

Birch, Plywood, Acrylic

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EQUIVALENCE 118- Acrylic on cut Linen - Abstract Geometric Painting
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VERSO EQUIVALENCE 1 - acrylic, staples, pine wood, cut linen -Abstract geometric
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This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. While typically, King Ferguson paints both sides of the canvas and cuts a flap on the the frontside to reveal the color of the back of the canvas, she unexpectedly does the opposite here. The painting is hung from the "frontside" of the canvas, revealing to us the raw edges of her linen canvas, stapled to the stretchers. Two oblong shapes of pink and red dominate the center of the painting. A thin semioval cut has been made inside of both of these shapes. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...
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Cuts in Orange
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