Plastic Paintings

Dynamic blue, yellow & Lavender abstract acrylic painting on canvas by the Late Midwestern Artist John Link. This work, entitled "Vickie's Cut", is one of se...

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...

Bold modern abstract in red-white-blue, signed Geo. Howard and dated 1970. Acrylic on canvas in original walnut frame with silvered edge contrast. In excellent vintage condition. ...

Clemens Briels (1946-) Title: 'De San Antonio a Maisi, cantando voy por ahi' 2001 Acrylic and collage on canvas, signed and dated 2001, Measurements are 100 cm x 110 cm x 5,5 c...

Nijinsky as Harlequin. Original life-size painting by Lynn Curlee The great dancer Vaslav Nijinsky in one of his most famous roles as Harlequin in Ca...

Michel Fokine as Harlequin. In Carnaval, 1910. Original life-size painting by Lynn Curlee Fokine was choreographer of the famed Ballets Russes.    

Painting. Acrylic on canvas by Gerard Economos (French,1935-) Gerard Economos is known for his passionate, intensely colored abstract compositions and large acrylic paintings that have been performed live in front of audiences in 12 countries. Economos has had over 88 events over the last 57 years and his work is now in collections in over 34 countries. He started Live Performances with the Greek avante-garde composer and architect, Iannis Xenakis during a Sound Festival; Subsequently he developed the "Une Musique a Voir" (A music to see) concept. 'La Cuisine aux Fleurs' (Cooking with Flowers) was a series of paintings initiated at the request of the renowned French Chef, Raymond Oliver in 1975 who wished to have his recipes illustrated. They have been rarely shown in public. For an illustrated 15 page biography of Economos please contact Thomas Gallery Ltd...

J. Paramé is considered one of the most talented and promising Portuguese artists of his generation. Born in Lisbon in 1978, he studied at the National Society of Fine Arts in Lisbon...

Under the Blanket Project, Naomi Clark creates what she titles Quilt Paintings. She breathes new life into old wool and cotton camping blankets culled from EBay, flea markets and gar...

Night train Original painting by Lynn Curlee This painting was used as an illustration in trains, a picture book for older kids published by Simon & Schuster in 2009. Mr Curlee is...

Liaisons VIII Original painting by Lynn Curlee One of a series of eight paintings based upon 17th century French engravings. Each painting includes a man, a woman, and a dog. Mr ...

Liaisons II Original painting by Lynn Curlee One of a series of eight paintings based upon 17th century French engravings. Each painting includes a man, a woman, and a dog. Mr Cu...

Owl Original painting by Lynn Curlee, professional artist and author/illustrator of award winning picture books for children. Acrylic on stretched canvas. The canvas is stretched a...

A wonderful abstract mixed media by New York born artist Barbara Coleman. Born in 1937, Barbara received her BFA from Marymount in 1958 and her MFA from Hunter. This Piece titled “Ci...

Dynamic mixed-media, acrylic, and collage on canvas by Ronald Frederick Dockter aka Ron Dockter, titled LIZZ in honor of and depicting Elizabeth Taylor, actress. This framed artwork ...

Simone Gendille, "coucher de soleil bleu", acrylic on canvas, signed, circa 1970.