Maria Carbonero Paintings

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Overall Size: Height 200cm x Width 300cm ( The painting consists of 2 parts, one part: 200x150cm ) Overall Size: Height 78,7402 Inch x Width 118,11 Inch ( The painting consists o...

An original enamel on metal painting by emerging contemporary conceptual artist Craig Sheperd (b. 1984) Craig Sheperd’s paintings, most of which are enamel on metal, were created o...

Dinosaur, 2011 53 x 43 inches Acrylic, oil, latex and image transfer on board $3300 2015 A painter, sculptor, and installation artist, Niki Singleton draws on both popular cu...

Discover beauty and hope in every stroke of this stunning piece by the talented Cuban painter Israel González Sosa. From the prestigious Academy of Fine Arts of Santa Clara -Cuba, Is...

This piece is from my private collection of 20th Century -21st Century artists, many of which are from the School of Paris era. Pelayo produced this lithograph in colors. The Latin American spirit...

The paper of the work is not yellowed, there is a applied yellowed primer under the drawing Krzysztof Gliszczyński is Professor for painting o...

The title for this work was inspired by the ruminations of Charles Manson in the 2010 publication Charles Manson NOW. “When you come to prison and you stay the fifteen years, all the dogs of the world are dead when you come back out, there is no dog that was a live when you were out last time. The three dog...

Primal woman of the jungle with a headdress of vibrant tropical plants Flower Goddess - Figurative Paintings - Conceptual Art By Marc Zimmerman This masterpiece is exhibited in th...

"Random Thought," a captivating creation by artist John Ali, invites viewers into the enigmatic realm of introspection. The artwork features a young man, his head covered with nylon, adorned by an intricate African bead necklace...

Beam recognizes that a successful work of art “must develop its own personality…It must empower, engage or provoke the public’s attention.” One exhibition in particular, titled Owavino(1997-1998) [meaning last minute] held in Illinois—perhaps the pinnacle of media mastery—garnered Beam numerous reviews, attacks and responses, even after the exhibiton had closed, for his work Turkish Medal (1996-1997-2013). The painting combines a comparatively altered version of one of Pulitzer-Prize winning illustrator Bill Mauldin...

LOL (laugh out loud) 2014 4x6" framed. 8x10" SUBTEXT This series of small paintings are a mash-up of Renaissance Choir book borders with their ornate grotesques and drolleries combi...

The Tender Weight of Waiting captures a moment of calm shaped by unseen expectations. Surrounded by books centered on love, marriage, and self-preparation, the subject retreats into ...

Hide, 2015 12” X 9” Oil on found wine box $1400 unframed A painter, sculptor, and installation artist, Niki Singleton draws on both popular culture and mythology in order to cr...

Glory, 2015 12” X 9" Oil on paper Framed A painter, sculptor, and installation artist, Niki Singleton draws on both popular culture and mythology in order to create works that...