Amphora 7, Painting and Mixed Medias by Natalie Rich-Fernandez, 1990

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...

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...

Rare and iconic large low chairs by Georges Candilis and Anja Blomstedt. Furnishings for the vacation village Les Carrats in Port-Leucate. Designed and manufactured in 1969, then p...

Wall mirror in white and gold enameled ceramic, approximate dimensions: diameter 48 cm. Signed on the back by the artist, delivered with a "Certificate of Authenticity". Georges Pel...

Wall mirror in bluish black, gold and platinum enameled ceramic, approximate dimensions: diameter 48 cm. Signed on the back by the artist, delivered with a "Certificate of Authenticity". Georges Pelletier (1938) is a great contemporary artist exploring the fields of ceramics and lighting since the 1950s. Born in Brusels in 1938. At the tender age of 12 he enrolls in the École du Pioulier, founded by Célestin Freinet and located in Vence in the South of France. Here he learns free and modern art and discovers drawing and ceramics. During this period Pelletier starts showing solidarity and relief based on the principle of equality. This formation lends him a unique artistic identity. Georges Pelletier arrives to Paris in 1953 and continues with his drawing studies at l’Académie Charpentier meanwhile he still frequents Fernand Léger’s workshop. He enrolls the school of Métiers d’Art in 1955. Pelletier deepens into the world of ceramics during his time at Claude Pantzer’s workshop and the Potiers d’Accolay where he meets Raphael Giarusso...

Sun lamp in white, gold and tan enameled ceramic, sculptural floor or table lamp bringing to your space an amazing light experience when the night falls, and a stunning sculptural presence during the day. Approximate dimensions: Height 80 cm x diameter 75 cm. Signed on the base by the artist, delivered with a “Certificate of Authenticity”. Georges Pelletier (1938) is a great contemporary artist exploring the fields of ceramics and lighting, since the 1950s. Born in Brusels in 1938. At the tender age of 12 he enrolls in the École du Pioulier, founded by Célestin Freinet and located in Vence in the South of France. Here he learns free and modern art and discovers drawing and ceramics. During this period Pelletier starts showing solidarity and relief based on the principle of equality. This formation lends him a unique artistic identity. Georges Pelletier arrives to Paris in 1953 and continues with his drawing studies at l’Académie Charpentier meanwhile he still frequents Fernand Léger’s workshop. He enrolls the school of Métiers d’Art in 1955. Pelletier deepens into the world of ceramics during his time at Claude Pantzer’s workshop and the Potiers d’Accolay where he meets Raphael Giarusso...

Modern and abstract are words that describe this stunning mixed media work from the 1990s. Done in a black and white palate the piece feels rather archaeo...

Mixed-media work by artist Purvis Young. Acrylic on paper, plastic and white metal sign insert cover. Folk Art painted in black, white, pink, yellow, red and green. Work on found obj...

Painting by Sophie Tottie, Sweden. 1990s. Mixed media. Dimensions: H: 124 cm/ 4' 3/4'' W: 103 cm/ 40 1/2''

Original Andrea Tana Mixed Media Expressionist Painting. It is an unusual example with a whimsical composition. About the Artist Andrea T...

A 1990s abstract acrylic and collage on paper beach landscape painting by American artist Harry Hilson (1935-2004). Gestural lines come together to create a blue and pink abstract sh...

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...