2010s Paintings

Large blue abstract Venetian plaster painting, Carol L.Post, 2019. In this soft blue textured painting by artist Carol Post subtle strokes of plaster blend with the background and gracefully dance...

Large acrylic on canvas by Karl James Lubbering (b. 1969) features a dog with varying hues of purple and blues. Karl comes from a family of promin...

A monumental acrylic painting on canvas by American artist Marc Ross, 2018. This minimal abstract painting features an impressive gradation of blue hues, giv...

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...

Karin Elmlund, born in 1974, is from the tiny island of Tjörn on the west coast outside Gothenburg, Sweden. Tjörn has a rich arts and crafts culture; this, combined with being on an ...

James Siena etching 'Fletxes octogonals decreixents'. Made by the artist circa 2011. Edition of 35 Hand signed. Number of edition and signature from the artist might dif...

Oil on canvas Painting, "La sandía suspendida" by Paola Vega, Argentina, 2020 The painting was exhibited in her solo show "The life of paintings" at Calvaresi in Buenos Aires, 2020. Paola Vega bio: Paola Vega is an artist, researcher and curator. She graduated with a degree in History from the Universidad Nacional del Sur in 2003. In parallel, she began to study painting in Bahía Blanca at Espacio Vox with Gustavo López, and carried out work clinics with Jorge Gumier Maier and Diana Aisenberg between 2001 and 2002, and later in Buenos Aires with Pablo Siquier (2004) and Tulio de Sagastizábal (2005-2007). In 2003 she obtained a scholarship granted by the Antorchas Foundation to continue her training. She was selected to participate in the Artists Program of the Torcuato Di Tella University (2011) with tutoring from Jorge Macchi. In 2015 she did a residency in Madrid at El Prado...

‘Snake River ’ by Chicago Artist, Karen Parisian. Acrylic + mixed media on canvas. Karen Parisian is a Chicago based artist. Her work can be thought of ...

Canvas art created by conceptual art artist under the pseudonym BomberBax from 2020. The artist always elaborates in his paintings the strong concept of the artistic evolution of Cry...

Art Dimensions: 36 x 36 H inches and Framed Dimensions: 37 W x 37 H x 4.25 D inches. Silver leaf float frame. We are proud to be the exclusive gallery of John O'Hara (American, b. 1963). O'Hara is a self-taught artist from St. Louis and is known for his large-scale abstract decorative pieces. His medium of choice is encaustic—a mixture of pigments and beeswax and he allows the material to dictate color, line and texture. His works often feature natural and organic forms and incorporate both figural and abstract elements. O'Hara began his art career in 2018 and collectors and designers quickly took notice. His work is included in both public and private collections around the world. Michael Kors selected O'Hara's Tar series paintings for his Milan, Paris, and New York showrooms and his flagship store in London designed by Pamela Meech. O'Hara's Brands on Yellow is hanging in the lounge of Maison de Luz, the new luxury hotel by Atelier Ace and designed by AD100 design firm Studio Shamshiri...

Abstract views of landscape are interpreted and painted by the artist. During travels around the world designs and notes are made, which are later abstractly interpreted into paintin...

Myriam Caumes, signed. Oil on canvas with a white textured background on which are drawn four large blue-colored pebbles. French contemporary work. Reference : LS4532901.

Eye catching large bold abstract painting in a gorgeous blend of colors and having a circle motife. Can be oriented vertically or horizontally. Painted around edges, so framing is optional. Signed on edge, Fay Sciarra.

For your consideration is a gorgeous, geometric painting on canvas, by Gunda Hass, circa the 2010s. In excellent condition. The dimensions are 35.5" W x 43.5" H.  

This soothing original painting by Miami based artist, Johanna Boccardo, was created with the meticulous signature style of the artist. The painting boldly displays her chromatic mastery, resulting in a fresh and colorful piece of contemporary art. Layers of color of various media are applied to get a multi-layered and dynamic effect, where cryptic stories and drawings are disguised in the background. "Aura Quartz...

Jolly Rider is an original, one-of-a-kind, acrylic on canvas contemporary Fanciful Inuit painting. Vibrant pops of color work in harmony to create this unique, contemporary work of art by Floyd...

Oil on canvas painting, "Los planetas frutales" by Paola Vega, Argentina, 2020 The painting was exhibited in her solo show "The life of paintings" at Calvaresi in Buenos Aires, 2020. Paola Vega bio: Paola Vega is an artist, researcher and curator. She graduated with a degree in History from the Universidad Nacional del Sur in 2003. In parallel, she began to study painting in Bahía Blanca at Espacio Vox with Gustavo López, and carried out work clinics with Jorge Gumier Maier and Diana Aisenberg between 2001 and 2002, and later in Buenos Aires with Pablo Siquier (2004) and Tulio de Sagastizábal (2005-2007). In 2003 she obtained a scholarship granted by the Antorchas Foundation to continue her training. She was selected to participate in the Artists Program of the Torcuato Di Tella University (2011) with tutoring from Jorge Macchi. In 2015 she did a residency in Madrid at El Prado...

Jordi Mollá, actor, artist, writer and filmmaker, 2021 "Flower Power" Marbella series oil painting.   

Modern abstract, oil on canvas painting, titled “Les Poissons 1/The Fish 1” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back, measuring approximate 24" H x 18" W x 1.5” D. Gallery wrapped, finished sides; circa dated 2014. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture...

Delicate tone-on-tone natural landscapes. Price is related to 1 sheet (100 x 300 cm) Available upon order: we design and execute hand painted, custom made decorations on paper. ...

German post expressionism painting 'Alluvial', 2019 by Ingrid Stolzenberg (former Ellmauer). Ingrid Stolzenberg lives and works near Frankfurt, Germany. She has been exhibiting her...

Modern abstract, oil on canvas painting; titled “Le Grand Bleu” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed...

Deep blue fronds framing pale moons. Price is related to 1 sheet (100 x 300 cm) Available upon order: we design and execute hand-painted, custom-made decorations on paper. Completel...

Modern abstract, oil on canvas painting, titled “Mer inconnue I” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back; measuring approximate 30" H x 36" W x 1.5” D. Gallery wrapped, finished sides, dated circa 2014. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture and photography, she dedicated herself to oil painting. She has exhibited in numerous solo and group shows over the last fifteen years. In 2010, she moved to Scotland with her partner for two years. Since returning to Montreal, she has devoted her time to oil painting and her work has flourished. Inspired by her many travels, her work explores landscapes as a contemplative territory. The desire to revisit past voyages through painting and to recapture the sentiments she experienced in various places was her primary motivation for producing these landscapes. "For the last fifteen years I have explored the reconstruction of landscapes in my painting. My practice is concerned with our relation to land as the memory of place. A land can be occupied, shared, transformed and dreamed, idealized. The land, as homeland or an idyllic land to travel to, where the memory is presupposed. Through my art, I explore that memory of travel, the journeys I made and the ones I dreamed. When contemplating a landscape and experiencing the change of light or atmosphere we realize the passage of time. As explorers from bygone eras, seeking unknown lands, my work proposes a return to the essential…that the French call ‘le bapteme de la solitude’. It is a unique sensation, and it has nothing to do with loneliness, for loneliness presupposes memory. Here, in this wholly mineral landscape lighted by stars like flares, even memory disappears; nothing is left but your own breathing and the sound of your heat beating. A strange, and by no means pleasant, process of reintegration begins inside you, and you have the choice of fighting against it, and insisting on remaining the person you have always been, or letting it take its course. For no one...

Modern abstract, oil on canvas painting, titled “Summertime III” by Michelle Hénault, a conceptual Fine artist. Signed on front bottom right, also, signed, dated and titled on back; measuring approximate 30" H x 36" W x 1.5” D. Gallery wrapped, finished sides, dated circa 2019. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture and photography, she dedicated herself to oil painting. She has exhibited in numerous solo and group shows over the last fifteen years. In 2010, she moved to Scotland with her partner for two years. Since returning to Montreal, she has devoted her time to oil painting and her work has flourished. Inspired by her many travels, her work explores landscapes as a contemplative territory. The desire to revisit past voyages through painting and to recapture the sentiments she experienced in various places was her primary motivation for producing these landscapes. "For the last fifteen years I have explored the reconstruction of landscapes in my painting. My practice is concerned with our relation to land as the memory of place. A land can be occupied, shared, transformed and dreamed, idealized. The land, as homeland or an idyllic land to travel to, where the memory is presupposed. Through my art, I explore that memory of travel, the journeys I made and the ones I dreamed. When contemplating a landscape and experiencing the change of light or atmosphere we realize the passage of time. As explorers from bygone eras, seeking unknown lands, my work proposes a return to the essential…that the French call ‘le bapteme de la solitude’. It is a unique sensation, and it has nothing to do with loneliness, for loneliness presupposes memory. Here, in this wholly mineral landscape lighted by stars like flares, even memory disappears; nothing is left but your own breathing and the sound of your heat beating. A strange, and by no means pleasant, process of reintegration begins inside you, and you have the choice of fighting against it, and insisting on remaining the person you have always been, or letting it take its course. For no one...

Contemporary, figurative, surrealistic oil on canvas painting by the Danish painter Bente Ørum, 2018. Skjern AA is a small river with a widespread delta ...

Mist everywhere and almost no details - but a glimpse of the sun. About the artist: The paintings of Bjarne Dahl are realistic and figurative with inspiration from landscapes, ...

Modern abstract, oil on canvas painting; titled “Lac en Août/The Lake in August” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back; measuring approx. 36" H x 40" W x 1.5” D. Gallery wrapped, finished sides; circa dated 2018. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture...

Modern abstract, oil on canvas painting; titled “Terre Inconnue 1/Unknown Land 1” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and...

Modern abstract, oil on canvas painting, titled “Malte/Malta” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back; mea...

A whimsical painting by M.P. Landis, whose canvases and works-on-paper come to life with their brilliant color and richly textured surfaces. This square painting evokes a childlike s...

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...

Mark Palmer a native Buffalonian established his art career while a 20 year resident of Washington, DC. His vibrant abstract works ranging from watercolors to mixed-media often seek...

Composition 0967 by Matière 28°, acrylic on plexiglas Matière 28° is the pseudonym of a Paris-based artist who was born in St. Petersburg and has liv...

Oil on canvas 24x30cm created 2014 Wolfgang Glechner was born in 1951 in Braunau am Inn. He is an autodidact. Since 1998 (according to his own developed "separation color theory") strongly colored paintings in oil and acrylic. Years ago he started as an working as an llustrator, working primarily black and white pen and ink drawings...

Oil on canvas 30x80cm (11.81x31.49in) created 2014 Wolfgang Glechner was born in 1951 in Braunau am Inn. He is an autodidact. Since 1998 (according to his own developed "separation color theory") strongly colored paintings in oil and acrylic. Years ago he started as an working as an llustrator, working primarily black and white pen and ink drawings...