Paintings

Tree I, 54” x 52”, Oil on Canvas Mira park biography Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from companies...

Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper...

'Beloved Hills' by British artist Jessica Zoob is evocative of the Sussex Downs in England close to the artist's home, a place of sanctuary and tranquilli...

'Flower Filled Water' by British artist Jessica Zoob is evocative of Asia where she has spent so much of her time in recent years. It also pays homage to Monet...

A small and engaging contemporary painting of a chestnut horse in a pastoral setting. The colors in this unsigned painting are fresh and vibrant. The...

The 'Where Angels Dance' triptych is a monumental work by British artist Jessica Zoob (three canvases each W150cm x H120cm). It offers a tranquil place of...

Vintage Original Gouache on Paper Painting ‘Vitra’ by Richard Sladden. Sladden (1933-2020) originally trained as an Architect at the RWA (Royal West of England Academy) he later mov...

Eve, 34” X 56”, Oil on Canvas Painting MIRA PARK BIOGRAPHY Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from compani...

Tintin Citroen Ami 8 on the Moon- Vinc Objective moon support : door of Citroën ami 8 Mixed technique Posca, acrylic, automotive varnish This piece can be exposed outside 20...

Adam and Eves, 54” X 52”, Oil on Canvas MIRA PARK BIOGRAPHY Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from co...

Fantastic work by the Ecuadorian painter Luis Millingalli, reflecting the cultural richness of indigenous peoples, specifically in this work he shows...

"Personalities" artwork by Mauro Oliveira. 3.000+ paper rolls made of magazines pages and covers! One of a kind 3-dimensional pieces on which everyone is cemented for life:from Hollywood stars...

Tree I, 52” x 62”, Oil on Canvas Mira Park Biography Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from companies...

This is a one-time only facsimile edition limited to 987 copies of an atlas from the Renaissance, the Atlas Vallard, owned by the Huntington Library in San Marino, CA, made by combin...

Tree II, 52” X 62”, Oil on Canvas MIRA PARK BIOGRAPHY Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from companie...

Adam and Eve II, 50” X 48”, Oil on Canvas MIRA PARK BIOGRAPHY Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from ...

Tintin and snowy in Amilcar - Vinc Technique: acrylic, posca and automotive varnish Aluminium signpost Possibility to put it outside Dimensions: Ø47xP3cm 2022 Price : 390...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...

Painting in charcoal on linen made by Enrico Della Torre. In good original condition, with minor wear consistent with age and use, preserving a beautiful patina. Material: Cha...

This is a one-time only facsimile edition limited to 987 copies of the Dioscorides of Cibo and Mattioli made during the 16th century. We created it by combining the highest technology with the mastery of the bookbinders who have handmade its binding by hand using only 100% full grain naturally tanned leather. In this remarkable codex, the artistic genius and botanist Gherardo Cibo (1512-1600) compiled a selection of medical and botanical texts from the Discorsi by the famous physician of Siena Pietro Andrea Mattioli (1501-1577), and illustrated them with more than 160 remarkable pictures of plants and landscapes that rank amongst the most beautiful of the Renaissance. Discorsi is Mattioli’s Italian translation of Dioscorides’ De Materia Medica (1st century AD) with the addition of lengthy commentaries based on his personal experience and on popular and learned medicine. Gherardo Cibo was an avid reader and admirer of this book by Mattioli. He copied entire passages in neat script, adding his own comments, anecdotes and legends and, more importantly, illustrated them with delicate and lifelike botanical images...

Modern abstract untitled mixed-media on paper by German artist Bernd Haussmann (b. 1957) with flower motif in lower right corner. The piece is signed initialed and dated in the upper...

Beautiful painting by Dutch / Bulgarian Painter Angelika Bes. The painting in Pin Up style is based on the famous 'Red velvet series' made by photographer Tom Kelley in 1949 when Mar...

Painting made by Sandro. In good original condition, with minor wear consistent with age and use, preserving a beautiful patina. Material: Ink on translucent paper Dimensio...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates traveled through Europe as part of a book tour. We are offering them in a limited edition printed on Aluminum in large format. This one is called Swaying In Developer Chemicals showing an overlay of all the design proposals for St. Peters Cathedral. Each plate is related to a scene and some lines from the book. Plate 003: SWAYING IN DEVELOPER CHEMICALS "At the end of the ambulatory, his vision is an unfinished photograph swaying in developer chemicals, still blurry and out of focus...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...

This plate comes from the book On the Rock published by Montez press in 2016. The plates are a collaboration between the founders of figure ground on how to interrogate text into ima...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates traveled through Europe as part of a book tour. We are offering them in a limited edition printed on Aluminum in large format. This one is called A Fecund Moment showing the tie of Marcus Garvey...

Superb framed lithograph representing a swimming pool surrounded by colonnades with a couple of dolphins leaping out of the water in the background. We find in the foreground 2 sharks revolving around an old car (a Bugatti Type 57...

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...

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...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates...

"Concept," 2022 is a large abstract acrylic, oil featuring deep violets, yellow ochres, and metallic gold on a white ground tinged with pale blue. In addition, the artist incorporated touches of orange, forest green and maroon together with web-like ink drawn forms to achieve light and dark and depth. New York City born Kathi Robinson Frank...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...

This plate comes from the book on the rock published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...

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...

UNTITLED, Wall painting by Spanish artist Federico Miró, from the series THE TRUTH IS ANOTHER, Acrylic on canvas. Federico is a young artist who, in his meticulous work, reflect...

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...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates traveled through Europe as part of a book tour. We are offering them in a limited edition printed on Aluminum in large format. This one is called Classic Black showing a collage of the interior of the Seagram's build in the perspective style of Mies Van Der Rohe. Each plate is related to a scene and some lines from the book. Plate 001: CLASSIC BLACK "The floor is smooth as a Japanese sharpening rock, a composite of volcanic ash...

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...

Craig Allen Abstract Nude Figurative Painting Titled "Echo" Offered for sale is an abstract nude figurative painting on canvas titled "Echo. The painting ...

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...

Oil on canvas, signed and dated lower left. B. 1941, British Born in the East coastal town of Bridlington in Yorkshire, England, and largely self-taught, Michael Whitehand is one of England’s top maritime artists. He has successfully exhibited his work internationally and his paintings are in important collections, like Britain’s recent Prime Minister, John Major...

Fantastic work by the Ecuadorian painter Luis Millingalli, reflecting the cultural wealth of indigenous peoples, specifically in this work he shows u...

In 2020, Caroline Rennequin painted 350 flowers. Including a series of 301 gouaches on handmade Indian paper, in a work that narrates the aesthetics of the feminine and its relationship with nature, which she endlessly colors with a living palette. Flowers with rounded and feminine contours, influenced by the 1970s. She uses gouache, an impulsive and immediate technique. A sometimes childish vocabulary in the gesture, without being regressive. Her artistic work revolves around her relationship to nature, whether real or fictitious. This work has been shown for the first time in October 2021 at Galeria Tambien...

A 1992 signed acrylic and collage abstract painting by American artist Harry Hilson (1935-2004). Titled Land Scape, this work alludes to Hilson's oeuvre of ...

Original acrylic portrait painting on recovered antique ceiling tin by European artist Mladen Novak. Tin panel may have a few chips in the paint h...

Contemporary abstract painting by Adrian. Untitled. Mixed-media on wood. We offer free worldwide shipping for this piece. Hand signed and dated on the back.

A surreal soul-stirring pastel drawing on paper titled "Bug People" by American musician and painter Chris Mars. Hand signed on the bottom right. Mars was the drummer for the seminal...

Carl Fredrik Reuterswärd, Abracadabra, 1990s Color lithograph Number 34/200 Work with the artist's signature, title and individual number (...

"Fantastical Realms: A Nondual Landscape" is a breathtaking painting that captures the wonder and magic of a world beyond the boundaries of reality. The scene is bathed in a soft, et...

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...

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...

About the artist: Dor Saraf is an international abstract artist known for the unconventional style and technique that he has developed. He is known for combining special materials with touches of metallic colors, and mixed textures. Saraf is an autodidact artist with a B.A degree in social sciences and special-needs education. His artworks are inspired and motivated by optimistic energies, positive natural colors, and the artist's emotional connection to the human soul. As an artist, he is committed to creating powerful paintings that bring style, optimism, and character to any space. -Size: 200/80 180/65 150/50 -condition: new, excellent quality. -Style: modern, abstract, Design - texture original artwork Hand-Painted acrylic Paintings of the Artist. -Each piece comes signed by the artist. -Framed in an internal wooden frame, ready to hang Choice: Hanging horizontally / hanging vertically.

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...

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