Plastic Wall Decorations

"Street Skin" wall sculpture by artist Juan Gerslt. Title: Street Skin Technique: mixed technique with Graffiti and UV printing on methacrylate and dibon. Year: 2022

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...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

A Japanese silk haori float-mounted on an acrylic rod to a stretched pink cloth canvas in a custom formed acrylic shadow box by artist Greg Copeland...

Very cool modern abstract painting made of acrylic and hood lead signed by artists titled “Frenchy”.

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

Acrylic on cardboard cube painting by Mexican artist Esteban Cruz. The painting features different shapes of Maori and geometric inspiration. Signed and d...

In this painting, the viewer is transported to a world where the past and future collide. At the center of the painting, we see a female medieval character, dressed in ornate armor a...

- Opaque III by Georges Ferrato - Oil on Canvas - 55 x 94 in, 140 x 240 cm - Signed at bottom right, signed dated and titled on the back Ferrato’s work is often associated with the ...

Title: “Female Figure #2”. Size: 48 in X 48 in. Year: 2010. Artist Jason Stallings An interpretation of the artwork of Willem de Kooning. Multi-media on canvas. In good condition....

Interested in collapsing the contradictions between form and formlessness, Daniele Albright's work focuses on the immaterial as the indeterminate and shifting space between perceptio...

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...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

The image shows a human skull in the forest. The author reflects his difficult period in life . On the back of the painting is a study of a nude lady. The author of the work is Juraj...

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...

"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...

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...

Composition by Lars Englund, Sweden, 1980s. Aquarelief. Measures: H 76 cm/ 2' 6 1/2" W 33 cm/ 13".

László Ottó (born October 30, 1966, in Pécs) is a Hungarian painter, recognized as a prominent figure in Hungarian geometric painting and respected in both international concrete-constructive art and Hungarian sacred geometry painting...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

A pair of 16th Century Spanish altar panels of Cherubs Representing the Omnipresence of God mounted on a Lucite panel with a double frame of hand-carved ...

In this painting, the viewer is presented with a figure that seems to embody the concept of nonduality and the interconnectedness of all things. The figure is depicted with a futuris...

Gouache paintings, "The Circle Series" we actually have four. Price individually @ $ 2600 each. We have 4 altogether sold individually.

At first glance this 2012 work by Yale-trained painter Jenna Pirello (American, b. 1988) appears to be spontaneous and expressive. Upon further inspection this painting is controlled...

Quincy Market by George Grace,, western New York Artist..Amazing use of space ,,color.. shadows,,, George Grace Drawing, Painting, Sculpture In June 2...

Sigfredo Chacon Venezuelan, 1950. Paysage. Acrylic on canvas. 23-3/4 in. by 23-3/4 in. Sigfredo was born in Caracas in 1950. He studied at the School of Fine and Applied Arts Cristóbal Rojas (1963-1966) and Design Institute Neumann-INCE, Caracas (1966-1970). He continued his training as a designer at the Chelsea School of Art and the London College of Printing, England. In the early seventies he participated in the Young confrontations Venezuelan News, Gallery Current Study Hall Arturo Michelena...

Péter Hecker's works could be described not only as neodadaist but also as pop-realist or neo-gyagya. However, one thing is certain: with his unique signature and unmistakable creati...

Fondimare, signed. Gouache, or mixed technique, Surrealist style, suggesting abstract faces and representing eyes, in red and blue tones and on a black background. Work realized in...

In this painting by John Brevard, the theme of the work is nonduality, illustrating the concept that all things are interconnected and inseparable. At the center of the painting, th...

"Defender" Oil on Canvas Original Painting in Wooden Gold Leaf Frame, 2005 An incredible and mystical collection of paintings, after a unique artist Andrew Ryabov - “Travelers of Ci...

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...

Labrosse, Daniel: Things That Happened (2023) technique: gouache, acrylic, ink, canvas size: 90 x 120 cm signed on the on the bottom left Daniel Labrosse is a Hungarian-French visu...

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...

Richly colored, signed and dated, abstract figurative, acrylic-on-paper artwork by listed, Quebecois Expressionist painter, Gisele Leclerc (1931-2019). Her work appears in the presti...

"Magdalene", a unique and symbolic painting by Canadian artist Peter Winnett, portrays the legendary harlot who was forgiven by Jesus and became one of his greatest followers. The archetypal painting reveals an explosive truth at its heart; the rebirth of the soul generated by God's mercy and forgiveness causing an overflow of Grace and outpouring of unconditional love for all. Fourth in a series called the 7 Deadly Sins...

Michael Young American, 1952-1993 “Site Terra Firma” Soil, sand, acrylic, resin on canvas 32 by 32 in. Circa 1990 Michael Young Biography: 1952...

Jean Messagier Oil on canvas titled "Crochets pour l'été" dated 1991 Bright colors, a little material and transparency on the canvas. 82 x 102cm

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 ...

The colorful patterns of altreforme stand out on the wallpaper as a tribute to its iconic brand. Wide is the range of colors available, for a result 100% tailor made. Price is per ...

Imperial cCat - Alberto Blanchart Aerosol and acrylic paint With artist's certificate 100x70x3cm 2020 Avec certificat de l’artiste 980€

Rey Skutoo art - Alberto Blanchart Aerosol and acrylic paint 50x50x3cm 2021 With artist's certificate 590€.

Spring Vibes - Alain Carpentier Acrylique sur toile 25F - 81cm x 65cm 2022 1800 euros

Kharkiv... Devastation - Alain Carpentier 100cm x 100cm Acrylic on canvas 2022 3500 euros

Mustique Steel Blue Wall Tapestry by Antilla Di Lauro Dimensions: L 225 x H 330 cm. Materials: New Zealand wool and recycled plastic. Antilla Di La...

Very interesting oil painting of Igor Stravinsky Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizens...

2000s photograph by Zeng Yicheng, printed in only 20 copies, titled, "Respiration 3".

Superb large-size aquarelle, created in the 20th century and signed by the artists. This work opens an animated scene in an Arab port, filled with a scene of names and characters of ...

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...

Old large silkscreen print on plexiglass representing the Eiffel Tower circa 1980

Italian black plexiglass decorative panel with animal by Lino Sabattini, 1980s Black plexiglass decorative panel with eight silhouettes of animals in silver-plated brass by Lino Sab...

"ATLAS 14" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both ...

Ecco 1 is part of "Interzona", the collection of pieces presented in October 2021 at Durán Monkey Gallery (Madrid). In them, the artists address, through symbolism, colour and repeti...

ATLAS 06 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

A Talitha-Anastasia Marco original, 'Tumultuous Trigg Tides', is a representation of one of Perth, Western Australia's most loved surfing destinations, Trigg Point. An often tumultuo...

LOCKED AWAY - TERRY THOMAS This is an extraordinary work of art 'Locked Away' by Terry Thomas, a renowned artist who has carefully painted this piece in his studio nestled within the...

SMOKE HEAD - BY TERRY THOMAS Don't let this golden opportunity pass you by! You have the chance to be the proud owner of a striking masterpiece 'Smoke Head' by Terry Thomas, an estee...

Collage and acrylic painting on wood frame set of 9 pieces.

ATLAS 01 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

We present here a unique piece that is part of a set of 3 watercolours painted on 100% cotton paper of 190 gms. They are unique and unrepeatable pieces as they are preliminary studie...