Marta Pokojowczyk Abstract Paintings

This special set paintings include two oil and gold-leaf on canvas paintings by Shizico Yi from 2024 to 2025; the set is curated to highlight her painting practice with Gold leaf vs ...

"Rhythmical" by Alyson Kinkade Abstract Landscape, Undulating Clouds over Plains Oil on Canvas 40x36" image 41x37" framed in black shadow-box wood as pictured "There is great beauty...

[Jardin d'Hiver] is Shizico Yi's on-going series, created in her winter studio while savouring for the summer left behind. This diptych included one evening scene of the last full m...

This stunning Original Set of two paintings by Shizico Yi on Canvas includes: Sunlit-Primary Colour Series- Blue Sunlit-Primary Colour Series- Red these are a part of Shizico Yi's Su...

Primary Colour Series- Red is Shizico Yi's on going project, inspired by Japanese woodblock Print and the a nod to calligraphy tradition. The series is a continuation of her "Sunlit ...

Limitless Triptych by Alyson Kinkade Each canvas is 20x15", oil on linen on thick stretcher bars. 22x51x1.5" overall dimensions. Framed in black wood - floater frames as pictured "W...

"Vast no.9, Restore" by Alyson Kinkade Abstract Landscape Oil on Linen 36x36" image Black Metal cradle styled Frame, 37x37" After a year of storms, light...

Title: Golden Thread Golden Thread - Painting Abstract Expression Gilding Calm Ocean Blue Abundance Gold In this piece, I've embraced the dance of harmony and flow. With featherli...

Abstract art experiments with the use of texture, tone, and light perception. Through abstract works, the artist expresses her feelings rather than particular objects or scenes. Wit...

As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka's paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born around 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala's group as they walked in to the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka (now deceased) all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women's collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women's camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original 'painting men'. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men's more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women's affinity to country and spirit. Walangkura's early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men's linear style as exemplified by the works of George Tjungurrayi...

Jardin d'Hiver Series is Shizico Yi's latest collection, created in her winter studio while longing for the summer left behind. Reflecting on the vibrant days spent painting en plein...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...