domingo, 26 de marzo de 2017

Suzanne Moxhay -

Arch (2016), digital pigment print

“Interiors”.  In my recent work I have been exploring concepts of spatial containment in montages built from fragments of photographed and painted interiors. Architectures are disrupted by anomalous elements – contradictory light sources, faulty perspective, paradoxes of scale. Light casts shadows in the wrong direction, walls fail to meet in corners, an area of the image can be seen either as an enclosing wall or dark overcast sky.

James Mortimer -

Lotus Eaters. Oil on Canvas, 3x4 ft

Seren Morgan Jones -

Tiffany Hargraves Phillips, 2015, oil & acrylic on canvas 18x16"

Henrijs Preiss -

No395, 2016, 114x101 cm 

"My practice is inspired by urban architecture and how it unravels layers of Histories. Specifically, I am fascinated by the monumental ideas and concept which underpin the great city structures and the reality of their inherent chaos and decay..."

Eleanor Watson -

Kept, 2016, oil on canvas, 110x90 cm.

sábado, 25 de marzo de 2017

Sarah Dwyer -

Eatramh , 2015 Oil on canvas 72.83 x 80.31 inches 185 x 204 cm

Kate Groobey -

The painter IV (Kick-ass), 2016 Oil on canvas 64 x 52 inches

Matt Lipps -

LIBRARY, 2013-2014, "The series takes its starting point from a 17-volume book set, Library of Photography, published in 1970-1972 by Time-Life Books. Matt Lipps has selected, cut out and assembled almost 500 figures, unfolding a visual roadmap of 40 years of American picture taking. Using collage strategies, sculptural tropes, theater staging and complex still-life, Library pays tribute to and requiem for the analog medium while posing new questions about the future of digital media and imaging..."

Barry Reigate -

Home is a polysterene cup, mixed media on linen, 180x226cm

Anna Ray -

sábado, 18 de marzo de 2017

Jonathan Baldock -

Archetypes, Power, and Puppets, 2015,College of Wooster Art Museum (CWAM), Wooster, OH (USA)

Emilia Azcárate -

 Fisuras, 2010 – 2011, Esta serie de obras las realicé con un bisturí. Me interesaba la idea de pintar cortando. Los cortes atraviesan el plano pictórico mostrando su reverso, a veces incluso hasta su esqueleto. El trazo de la cuchilla es tan preciso como el del pincel, sin embargo el resultado es un desprendimiento de la forma del fondo, que concluye con el nacimiento de una escultura o instalación. Cuando el espectador observa la obra, desde su total apertura, descubre casi todo lo que hay en ella. Todos los planos son relevantes, como un cuerpo espacial en movimiento.

Emilio Chapela -

 White noise. Oil on canvas. 2016

Carla Busuttil -

Gelukszoekers, 2015. Oil on canvas

Caroline Achaintre -

Baac, 2013, ceramic, 36 x 21 x 22 cm