Plastic Paintings

Oversized Lee Reynolds acrylic on canvas painting signed in lower left corner. Painting has great texture with a white wood frame that has a silver accent. Hanging hardware is attached.

Contemporary painting, Bestiary I, by Spanish artists Rubenimichi, Acrylic on canvas, with a thick lacquered wood frame. Measurements: Painting: 21×27 (H) cm Frame: 36 x 3.5 x ...

Stefan Johansson, acrylic on canvas, signed and dated -08 verso. "Session 1". Measures: 136 x 102 cm. A artist living in Stockholm working in the tr...

Oil on raw canvas. Presented in a custom floating black wood frame with plexiglass. The Black Rose II Series was inspired by Rorschach, a psychological test using ink blots...

The ‘Multicolored Man’ depicts a head with an enlarged nose and ear and worried looking eyes and mouth. The characteristics are yellow, orange, blue, wh...

Contemporary painting, First Motherland, by Spanish artists Rubenimichi, Acrylic on canvas, with a thick lacquered wood frame. Measurements: Painting: 21 x 27 cm Frame: 36 x 3.5 x 4...

Immerse yourself in the extraordinary allure of our unique Expressionist painting on canvas, capturing a one-of-a-kind scene. This abstract artwork presents a captivating horse-like ...

Having grown up in a military family, Marc’s youth was spent on the move. He was born in Oxnard, California and spent some of his early school years there. But his geographical resum...

Wonderful painting with bright hues by New York artist Kevin Paulsen. With a central bird motif, surrounded by trees, houses, and other various designs. Pigment and ink on plaster an...

Beautiful midcentury painting. A very decorative color collage of flowers. The painting is signed PL and named Monachez. The painting has a red original frame. The painting has a wa...

Vintage Optical Op Art Abstract Geometric acrylic painting on canvas Offered for sale is an optical art abstract acrylic painting in a geometric pat...

We love this colorful vintage acrylic painting on paper. This illustrated composition is of a 'musician playing his guitar under the moon with birds'. It creates pure magic with all ...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin...

Abstract Painting The Seductions by Pedro Damian, Cuban American Artist, 1997 Offered for sale is an original acrylic abstract painting on canvas by the Cuban-American artist Pedro Damian. The work is from the series titled "Las Seducciones" which translates in English to "The Seductions". The canvas is signed in the lower right and on the verso. This canvas is stretched on a wood stretcher, wired and ready to hang. The artist uses bold jewel...

Irene Cafieri Contemporary Oil on Canvas 1970s Measures: 36″ X 24″ Lovely landscape by contemporary artist.

Charles Dix 1970's Modernist Post Modern Original Acrylic Impasto Painting Art Signed A rare signed painting by artist Charles Dix. This beautiful artwork features the artists’ sign...

Oil on Raw Canvas. Presented in a custom floating black wood frame with plexiglass. The Black Rose II Series was inspired by Rorschach, a psychological test using ink blots...

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...

Signed and Framed Seascape Acrylic Painting on Canvas made in America circa 1970s. Depicting two Fishermen in their Sailboat on the rough Ocean catching a swordfish. The wide woode...

A striking acrylic and wax pastel abstract figurative painting on paper by Anne Abueva, and framed in a found vintage frame. A decade ago interior designer Anne Abueva put down her paint deck and picked up a paintbrush. Her signature expressive bold lines combined with her unique color palettes allow her to create memorable connections with her viewers while weaving together her love of intuitive art...

Large Vibrant Green, Pink, & White Abstract Acrylic and Alkyd Resin Painting on Canvas by John Link titled "Precession" 2007. Painting on canvas by the La...

H Heyligers (Dutch, 1877-1967) Impressionist Scene Women In The Street Elegant impresionist scene by the duch painter H Heyligers.With original frame in good condition.Size:97x81 cm...

Beautiful oversized Lee Reynolds acrylic floral painting with texture on canvas. Painting has a gold metal frame and is signed in bottom left c...

10 Commandments by Massimo Giacon, monumental painting acrylic on wood. Italy, 1997 Signed to lower edge: [Approved by Giacon]. Measures: 72¾ H × 4...

A large bold pointillism painting of a landscape and pond in the manner of Georges Seurat. by Marc R. Rubin, signed l/r American, 20th century...

An Op-Art acrylic on a wooden panel painting, pop, abstract, op-art, a composition of geometrical forms in blue, violet and black on a wooden pan...

Small modern mixed media artwork. Painted on canvas on a wood stretcher, this artwork uses a plastic element to give depth and texture to the Artwork. The...

Charming pair of framed paintings of chickens or roosters mounted in acrylic and lacquered wood frames by Ira Yeager (American 1938-2022). Painted on beige ...

Large MCM abstract acrylic on panel original painting by listed artist Richard Mann, circa 1960s. The piece is in very good vintage condition and is presente...

Outsider abstract oil painting on board signed Peter L. Sword (1939-2018). Peter was a longtime resident of San Francisco where we purchased this painting. We see online that he live...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also a...

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 ...

Monumental Chinese Qing ancestor scroll portrait painting of a high ranking official or Imperial court matriarch. Features a intricately decorated Min...

Thickly layered blue, pink & green abstract acrylic painting on canvas by the Late Midwestern Artist John Link, mounted in a wood frame. This work, entitled ...

Contemporary oil and paper on canvas 'Hot Wheels - Mongoose vs. Snake' painting based on vintage packaging and advertisement materials. By Danny O'Conner an...

Abstract painting by Ben Hanisch, 2022. 48” x 36” Acrylic on canvas, stretched on wood stretcher bars. Painted edges. Can be hung vertical or h...

Vintage Op Art Abstract acrylic painting on canvas "Squares", Unsigned Offered for sale is a vintage brightly colored abstract optical art painting i...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin...

Captivating surrealist Asian countryside landscape scene. Artist has incorporated surrealism into this landscape; using details and colors to make shadows the backdrop of the painting, highlighted by a central stream of light...

Large Hyperrealist flower painting by Teresa Frazee, "The Secret Of Devotion" Offered for sale is an amazing example of Hyperrealism in the painting "The Secret Of Devotion" by Teresa Frazee. Frazee is a well-recognized artist who has had many solo exhibitions and has won many awards. Her large-scale work is of a flower backlit against the sky over an antique wrought iron fence...

Pictured is a large framed piece which portrays a collage of nude women at different angles with different expressions blended into one another. Measures: 31x41

Signed and Framed Cityscape Acrylic Painting on Board made in America circa 1970s. Depicting a Man walking empty Streets in the City. Framed Black and White in 3D Effect. The Artist signed the painting at the right bottom side, P. COWDY. In all original pristine condition with some wear as documented...

This framed colorful piece has many different aspects and stages of life in it. If you look closely and pat attention to this artists' myriad of details, you can see people painted t...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also a...

Oil on canvas by Hans Osswald (1919–1983). Hans August Osswald (originally Andersson) was born on 29th August 1919 in Örebro. He was a Swedish painter...

Circa 1999, Acrylic on "Canvas on board", by Suk Shuglie, Pennsylvania. Colorful and bright, this wooded scene leavens the moodiness of late Winter with th...

Optical art acrylic on canvas "Triangles", stretched, wired and ready to hang Offered is an optical art acrylic painting on canvas titled "Triangles. The work is stretched, wired ...

Our gallery is pleased to represent a wonderful new California artist Scott Anderberg. This evocative abstract work is titled “Hunger and Bread Seed Poppies” 2022 and measures 36” by 24...

Teresa Ann Frazee large abstract painting "Disentangled Blue" Offered for sale is a large abstract painting titled "Disentangled Blue" by Teresa Ann Frazee (1953-) is a well-recog...

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...

An interesting colorful painting (acrylic on canvas) by Eric Dennard, 1942-1993. Signed, dated 1971, unframed. A note about the artist: "Born and reared ...

Untitled abstract painting by Adja Yunkers. Collage with acrylic, signed and dated 1969.

Vintage (20th century) Chinese pen and ink ancestor portrait capturing the honoree seated and wearing an elaborate hat and red dress, on a beige ba...

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...

A stunning large and original Contemporary textured painting by Sophia Paleotheodoros in blue, white, burnish gold, yellow, red, black. Sophia ...

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...

‘Holistic’, a handmade painting by Lawrence Kwakye consisting of Acrylic on Linen with a beech wooden frame. The holistic painting represents the abstract world of the unknown. A place of dematerialisation and dehumanisation where life is redefined in the eye of the beholder. The viewer is challenged to see the position of humanity from another perspective. Transhumanism and the concept of an uploaded human life form was the inspiration behind this work. An imagination of a science-fiction plot. A distinctive painting with an authentic layered effect; a unique aesthetic experience. Powerful and exclusive, only one of has been made. About the artist Lawrence Kwakye (1972, Utrecht) painted his first painting when he was thirteen and with it, unknowingly opened the door to his artistic career. The famous writer and illustrator Tomi Ungerer called him an ‘undeniable talent’ at the time and compared him to the main character in Albert Camus’ novel ‘The Stranger’. As the son of a Ghanaian father and Hungarian mother, raised in the Netherlands, he was constantly exposed to surprises and changes in life and as such automatically developed a ‘contrasting’ view of the world, essential for the magical layering in his later work. Nothing is what you think it is. After secondary school, Lawrence completed his study ‘Man and Leisure time’ at the Design Academy in Eindhoven, where Lidewij Edelkoort was a guiding force. Unmistakable heritage from that time is the functional and conceptual impact of the many paintings he continued to create alongside his job as designer. Until 2010 when he changed course, established himself as an independent artist and his artistic career gained momentum. Kwakye’s cultural diversity, his sense of aesthetics, his technical innovative drive and his fascination for transition, or in other words the process of change are clearly reflected in his current work. The result is accessible, the viewer picks it up straight away, but then seduces him into a discussion about what you actually see; it is what it is...