Acrylic Wall Decorations

"Nidos" 2003 Felicidad Moreno Mixed technique of acrylic, enamel, varnish and acrylic spray on canvas.

Edward McHugh I'm In Touch With Your World, 2020-21 Acrylic, ink, thread, polyester resin on double-refined fiberboard Measurements: 47 x 38 x 3 in

Edward McHugh Centerfold, 2020-21 Acrylic, ink, thread, polyester resin on double-refined fiberboard 45.5 x 56.5 x 3 in

Edward McHugh The Bad Touch, 2020-21 Acrylic, ink, thread, polyester resin on double-refined fiberboard 3 x 56.5 x 45.5 in

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then...

This unique woven painting was created in 2002 by David Svensson. Rather than applying pigment to a conventional support, Svensson constructs the image from the material itself. Thin...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Erika Rothenberg (B. 1950) "7 Hours, 10 Minutes, a Day" Signed, titled and dated 'Erica Rothenberg 1987 7 hours, 10 minutes a day' (on the reverse) Acrylic on canvas: 50 x 66 i...

Past, Present and Future are intertwined in a single expression that bears the signature of Eduard Locota. An innovative collection in which classical sculpture, contemporary design elements and augmented reality coexist. From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then physically 3D-printed it into a new representation fit for the XX-st Century. Eduard Locota has been working with digital 3D modeling software for over 20 years now; and this is the first time he has combined his digital 3D skills with his physical skills to give birth to this radical new collection, representing the past, present and the future. With the aid of your smartphone, you can transcend the physical counterpart of mirrors/sculptures into the metaverse. Each of the sculptures/mirrors has a new life with the aid of our augmented reality solutions. DIMENSIONS: H 145 CM / W 65 CM / DEPTH 5CM ( LIMITED EDITIONS OF 99+4AP ) MATERIALS: GLASS MIRROR, JESMONITE, PIGMENTS, FIBERGLASS REINFORCEMENT SIGNED ARTWORK, WITH A CERTIFICATE OF AUTHENTICITY SIGNED AND DATED BY THE ARTIST. THE WALL HANGING SYSTEM...

“Nebula” is an original, one of a kind, blue, yellow, orange, purple, red, pink, cream, white, black, contemporary, acrylic on canvas abstract painting. Vibrant pops of color work in harmony to create this unique, contemporary work of art by Andrew...

The image depicts a sea waves. The author of the work is Juraj Huliak, a very talented young artist from Slovakia. Technique acrylic on cardboard, framed in ...

The painting depicts a golden sea waves. The author of the work is Juraj Huliak, a very talented young artist from Slovakia. Technique acrylic on cardboard, framed.

The painting depicts a man dressed in a waterproof coat standing in a rainy night illuminated by yellow light from the street. The author of the work i...

The painting depicts a man sitting in a theatre, watching a horror drama. The artist has incorporated several skulls depicting the atmosphere of the play. The author of the work is J...

“Por Una Cabeza Amor” is an original, one of a kind painting. Red, blue, green, black, yellow, gray, contemporary, acrylic on wood panel still life painting. Vibrant pops of color wo...

About the Artist: Cometabolism Studio is a design studio based in Shanghai, founded by Zhang Ning and Yang Yafei. Zhang Ning graduated from the designer maker program at Camberwell...

Abstract painting on paper in turquois-black acrylic colors handmade frame (4.5cm) with white-gilt decorations, anti-reflecting glass Ricardo Santamaría – Biography Born 1920 in Zaragoza-Aragón (Spain) / died 2013...

Clément Rosenthal (b. 1956) is a distinguished Paris-born artist whose profoundly evocative work sits at the vanguard of contemporary French abstraction. Raised in an environment ste...

Optical art by Marcos Marin Acrylic on Canvas who representing Mick Jagger With beautiful clear orange and black

Drawing of a French woman, signed and dated “1817.” The woman wears a “troubadour” ensemble that could reflect either her *région d'origine* or point to the Romantic, new-medieval vo...

18th Century Russian Orthodox icon of the prophet Zachariah painted on an ornate solid slab of wood with an incorporated gold gilded frame that has been c...

Fornasetti panel, printed silk enclosed between 2 Plexiglas panels, Compagnia del Tabacco 1990. Below left the Fornasetti brand and Tobacco Company.  

«Yellow Berries» wurde auf naturbelassener Jute in mehreren Schichten mit handgefertigten Schablonen und Acrylfarben aufgebaut. Die Rückseite ist - wie bei allen GLOORIS-Werken - mit...

Born in Santa Cruz, California, KC Haxton traveled the country with his family, gathering experiences that shaped his unique view of the world at a young age, never living in one pla...

«Dark Magnolia» entstand aus naturbelassener Jute und wurde in mehreren Schichten mit handgeschnittenen Schablonen und Acrylfarben bemalt. Die Rückseite ist mit goldfarbenen Metallbl...

Pair of Large Knife & Fork Lithographs in Acrylic Frames Dimensions Height: 87" Width: 22" provenance: from the estate sale of Ozzy Osborne, Los Angel...

Early 19th Century Italian carved-wood in high relief composed of various types of woods set into a marquetry panel with flat inlaid scrolling fruit tree foliage. The piece is compri...

Set of three oil on canvas paintings of saints: one full-length one of Saint Peter holding the keys to heaven and two smaller ones. Would make a fabu...

Cubist portrait with very strong expression by French artist Emmanuel Godefroy. Mixed technique, black stone, charcoal and glycero paint on paper, fixed on a wooden panel with frame....

Painted canvas, or decorative panel, representing a Japanese samurai on a stylized geometric background. French contemporary work of artists. Dimensions: H 160 x W 100 cm Referenc...

Title: Metaphysical Fractions of Unified Reality Size: 60''x60'' Medium: Acrylic and Mixed Media on Canvas Description: Immerse yourself in the intricate patterns and ethereal symbol...

Contemporary Belgian artist Diane Petry creates her own three layer canvas using pima cotton, gauze and fine paper. Raw edges and applied threads add texture and dimension. All artwo...

Contemporary Belgian artist Diane Petry creates her own three layer canvas using pima cotton, gauze and fine paper. Raw edges and applied threads add texture and dimension. All artwo...

"Migration (Screw #4)", 2014, Financial newspaper collage, acrylic on canvas and board, 50 x 40 x 2.5cm by Gordon Cheung Screw Paintings Begun around 2014 they were originally throwaway byproducts from my paintings where I masked out areas for spray painting. Often I found the visual effects of screwed up newspaper fascinating and eventually was compelled to turn them into works of art. I came to understand them as a fascinating space to think about the actual and the virtual. Although I am too close to them to be able to see, some have told me that they look like aerial photographs of landscapes; a moonscape or perhaps the stargate sequence from Stanley Kubirck’s 2001. They are collaged newspapers...

"Castles Cascade to Sand (Screw #5)", 2014, Financial newspaper collage, acrylic on canvas and board, 50 x 40cm by Gordon Cheung Screw Paintings Begun around 2014 they were originally throwaway byproducts from my paintings where I masked out areas for spray painting. Often I found the visual effects of screwed up newspaper fascinating and eventually was compelled to turn them into works of art. I came to understand them as a fascinating space to think about the actual and the virtual. Although I am too close to them to be able to see, some have told me that they look like aerial photographs of landscapes; a moonscape or perhaps the stargate sequence from Stanley Kubirck’s 2001. They are collaged...

Wir bieten ein wunderschönes Acryl-Wandbild auf Sackleinen/ Jute Leinwand aus dem Jahr 1982 zum Verkauf an. Das Objekt wurde signiert mit "Ch Möck 9/82" und gerahmt. In unseren ande...

Wir bieten ein wunderschönes Gemälde von Kim Dieu zum Verkauf an. In unseren anderen Anzeigen bieten wir weitere, passende Gemälde von Kim Dieu aus der Galerie Inspire Art zum Verkau...

Wir bieten ein wunderschönes Gemälde von Kim Dieu zum Verkauf an. In unseren anderen Anzeigen bieten wir weitere, passende Gemälde von Kim Dieu aus der Galerie Inspire Art zum Verkau...

Wir bieten ein wunderschönes Gemälde von Kim Dieu zum Verkauf an. In unseren anderen Anzeigen bieten wir weitere, passende Gemälde von Kim Dieu aus der Galerie Inspire Art zum Verkau...

Wir bieten ein wunderschönes Gemälde von Kim Dieu zum Verkauf an. In unseren anderen Anzeigen bieten wir weitere, passende Gemälde von Kim Dieu aus der Galerie Inspire Art zum Verkau...

Painting "f/11/94" by Eduardo Jonquieres 1994, Paris. Technique: acrylic on canvas Title, signature and date and the Arte Struktura Milano label are on the back.

In this John Brevard painting, we see strange and surreal creatures that seems to inhabit a multidimensional world. The overall theme of the painting ...

Great painting, very decorative piece. Signed, but signature unreadable. Circa 2010.  

Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied. Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin. If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity. Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.” As our bodies, like the sea, are largely water, Colucci’s water visions...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move -- the plié -- and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered -- a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor -- a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum -- the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity -- movement directed inward to the core of one’s self -- a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions -- an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself -- the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to -- or moreso an extension of -- his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat-induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments -- moments that denote a certain frailty -- the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction -- and also the reverse of this -- a unique anthropomorphization of varying states of movement -- that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person -- one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s -- one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

Title: Cosmic Mirage: Unveiling the Illusory Nature of Reality Size: 60''x60'' Medium: Acrylic and Mixed Media on Canvas Description: The illusory nature of reality is unveiled, beck...

Title: Convergence of Dreams and Truth Size: 60"x60" Medium: acrylic and mixed media on canvas Caption: Convergence of dreams and truth unfolds in a mesmerizing display of ethereal b...

This one of a kind painting by John Brevard was one of the earliest in his collection. After a series of black and white drawings (now mostly sold) John created only 10 paintings of ...

"I Classici " - An innovative collection in which classical sculpture, contemporary design elements and augmented reality coexist. From extremely detailed 3D scans of the most import...

In this John Brevard painting, we see a strange and surreal creature that seems to inhabit a multidimensional world. The overall theme of the painting...

This is a very vibrant & expressive work from Milan Klimes (1945 – 2013), Czech artist created in the 70s, it is a mixed technique on cardboard with a new cedar wooden frame. The ...

This is a very vibrant & expressive work from Milan Klimes (1945 – 2013), Czech artist created in the 70s, it is a mixed technique on cardboard with a new cedar wooden frame. The ...

"Veiled Paths" is a captivating mixed-media painting by American artist Louis Shields, created in 2020 as part of his Element Series. Rendered on canvas, the piece blends abstract ar...

A vivid exploration of time, memory, and space, "Gothic Portals" by Louis Shields combines gestural abstraction with architectural structure. Part of the artist's Element Series from...

Conundrum is a bold and architectonic abstract by artist Louis Shields, part of his Quantum Series exploring color logic, spatial tension, and the visual puzzle of form. Executed in ...

"Exit" by Louis Shields Geometric abstract mixed-media on canvas Quantum series, 2015 Measures: 48" H, 36" W Colors: Red, blue, black, green, off-white.

'Photogenic' original mixed media on canvas, framed in black, by three British street artists, signed and dated to the verso FREE DELIVERY TO UK MAINLAND EXCLUDES SCOTTISH HIGHLANDS...

Volumetric piece We present you a one of a kind wall artwork, looking along the sea coastline length, “Aqua Blocks” can become a center piece to any interior. It’s fractured structu...

Dawn Lamp The unique approach of Eduard Locota towards art, embrace the permeability between art and function. An unique lamp that is as much sculpture as it is design. By using coa...