VOKA Art

In Japan they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. When I began this series of Gyotaku (Japanese fish printing) I studied the many varieties of Koi, each with their own unique colors and patterns. My particular favorites are the Tanchos which can be identified by the distinct red spot on their heads. To create these pieces I print common carp I catch myself with sumi ink using traditional techniques used by Japanese fisherman dating back the mid 1800's. I then tint the images using watercolor. In each piece I hope to translate a sense of movement to give the viewer a sense of calm one might experience watching the living versions lazily meandering around a serene pond. —Jeff Conroy Several koi swim in a circle while autumn leaves fall on the surface of the water in this Gyo-tako method of painting by artist Jeff Conroy. After inking and taking impressions of the koi, the artist then uses watercolors to enhance their beauty. By using marbled mulberry paper to print on, he has created the illusion of water with the swirls of the mulberry paper. The paper itself has a soft hue and slightly wavy texture adding the overall feel of the artwork. This artwork is unframed. Contact gallery for framing options. Jeff Conroy Autumn Cotillion sumi ink and colored pencil on mulberry paper 25h x 37w in 63.50h x 93.98w cm JEC103 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression. It is the traditional Japanese method of printing fish, a practice which dates back to the mid-1800s. This form of nature printing was used by fishermen to record their catches, but has also become an art form of its own. Gyotaku is a Japanese method of printmaking that traditionally utilizes fish, sea creatures or similar subjects as printing "plates" in its process. The literal translation of the word is "fish stone rubbing...

"Leeward", by Christina Haglid, is a meticulously detailed watercolor. In a surreal scene, an orchid stem sprouts from a paper lantern in a boat. The calmness of the water and soft...

Original watercolor on archival paper by the well known Tennessee artist, Jim Gray. Circa 1995. Signed middle bottom. The painting depicts a typical Tennesse...

Jim Richard Modern Riff: Purple Rush, 2016 flashe on Yupo paper 26 x 20 in (66 x 50.8 cm) paper size, 22 x 17 image size

This surreal landscape comes from the inner sanctum of artist Christina Haglid. Two paper orbs combine and reveal a portal to another dimension. The artist invites the viewer to take a closer look at nature, to question what is seen and to enter into a newly created world. Meticulous in her execution, Haglid uses watercolor as one might use a colored pencil. Layer upon layer of color is added to achieve this impressively detailed painting. The piece is matted and framed in a simple white frame measuring 20.25 x 16.75. Christina Haglid Nest, 2020 watercolor and gouache on paper 11h x 8w in 27.94h x 20.32w cm CMH051 Artist's Statement Tiny Sanctuaries There has always been an intersection between the process of writing and the act of painting in my work. It has somehow been my guide. In the last four years, during the making of this work, that connection intensified as I started writing short stories and flash fiction while taking online classes. I find the process of writing and painting so different in almost every way, but there is something freeing and generative in writing which helps my painting process. Or perhaps it's a reminder of what painting is for me - something intuitive that needs to be trusted. And what they do have in common is a desire to encapsulate and distill a single moment, a story, about the complexity of our emotions and experiences. At the heart of my work is the recurring depiction of perseverance, strength of will, and a subtle optimism. Symbolically through the objects, precarious situations depict a moment of possible difficulty, often involving the influence of nature. A paper crane left in the snow. A boat nearly filled to the brim, but not submerged and able to drain its own contents carefully. A slide alone at night...

Pencil and watercolour on paper Paper size: 10 x 14 inches Framed size: 20 x 23.75 inches Initialled lower right

"Rainy Day - Near Paris, France" is a watercolor on Canson Aquarelle French cold press watercolor paper. The price does not include a frame. The overall paper size is 6 x 9 inches. In addition to being one of America’s foremost illustrators, Bart Forbes creates paintings and watercolors for himself. This private and very personal work, is painted from his mind’s eye. Forbes’ oil paintings express a time of day or a mood through his use of color, texture, and composition. Forbes moved to Dallas in 1967, after completing graduate study at the Art Center College of Design in Los Angeles, following his BFA in art from The University of North Carolina at Chapel Hill. Forbes was the official artist for the 1988 Olympic Games in Seoul, Korea. His public works include the cover of Time Magazine; 19 commemorative stamps for the US Postal Service, including the Ronald Reagan stamp; and official artworks for the Kentucky Derby, Indianapolis 500...

My work is about something I wish I could have seen, imaginary worlds, a commentary on awe that is inspired by nature, science, and history. Objects in my work are a stand in for the...

Beth Secor, Elderly Elm, Patio, 2014-2015 Ink, gouache and pencil on paper overall diptych 20 x 28 inches 20 x 14 inches each Beth Secor understands trees as both a comforting p...

"Santa Maria della Salute II" is a watercolor painting of the Santa Maria della Salute church and minor basilica in Venice, Italy. This work features hues of orange and tan. This piece is 16 by 20 inches framed. McLean Jenkins is inspired by the work of JMW Turner, Richard Diebenkorn and Louis Khan. McLean Jenkins is a practicing architect with McAlpine and his work derives from and celebrates the classical forms of his trade. Working in graphite, ink and watercolor, McLean employs a gestural approach that frees his hand to explore a subject’s essence. His compositions rely on the quick, decisive sketch and are then given over to the whims and splashes of watercolor. Spontaneity, movement and spirit are all emphasized and his drawings collectively form their own narrative of his passion for architecture. The city of Venice has captured McLean’s imagination since his first trip there as a 12 year old boy. Over the years a kind of courtship with the city has evolved, and its impact has motivated and sustained his development as both architect and artist. His work depicting the city has been recognized within the architectural profession by the Georgia Trust for Historic Preservation in its award to McLean of the J. Neel Reid...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to...

In Colin Hunt’s new paintings, myriad tiny rocks, grains of sand, and strands of rockweed form a coastal beach, while lush forests pierce a crystalline sky. Elsewhere, palpable mists...