Rose Marie Cromwell is a photographic and video artist whose work explores the effects of globalization on human interaction and social politics. She is interested in the tenuous space between the political and the spiritual.
Cromwell’s series, El Libro Supremo de la Suerte(The Supreme Book of Luck), shot while she lived and worked in Havana, is evidence of the artist’s intimacy with the city, its people and their rituals, but it's also a documentation of her own coming of age. In Cromwell’s photographs, the city of Havana we think we recognize is difficult to find, iconic vistas foregone in favor of an exploration of complex subjectivity. With the photogenic capital tucked behind corners or used only as backdrop, it’s the Cubans with whom Cromwell established relationships who take center stage. Or rather, Cubans and their luck, as the series title refers to a book that inventories everyday objects and experiences - 83 is “daily problems,” 93 stands for “revolution,” 1 corresponds to “horse”—which can be applied to a local under-the-radar lottery system. In exploring the visual connections between numbers—exact and absolute units of measurements—and the mystical, wayward ways of luck, as embodied by locals performing for her camera, Cromwell offers a lyric homage to Cuba, the place that’s shaped her practice and that continues defying expectations and interpretations.
Cromwell has been awarded a number of residencies and awards including a Fulbright Fellowship and a Lightwork Residency. She was named one of "25 under 25 Up and Coming American Photographers" by PowerHouse Books and The Center for Documentary Studies in 2008, and named one of “15 Photographers to Watch” by the Telegraph in 2014, and "25 Captivating Photographers" by the FADER in 2016 . Her first solo show was at the Diablo Rosso gallery in Panama City, and she participated in the 1st Bienale del Sur in Panama City. Cromwell will have a solo show at Antithesis in Panama City this summer. "El Libro Supremo de la Suerte" was recently shortlisted for the MACK First Book Award.
Cromwell’s work has been published online and in print in a variety of international magazines, including the 2014, 2015, 2016 Vice Photography Issues, Camera Austria, Time Lightbox, ARC Magazine, Musee Magazine, The Oxford American, and The New Yorker's Instagram. Cromwell is a founder of Cambio Creativo, an alternative arts education initiative based in Panama; and a member of Estudio Nuboso. She has taught at the International Center of Photography, Syracuse University, and at the Aperture Foundation.
The Beach, archival digital print, 30" x 37", edition 5
Over the Malecon, archival digital print, 30" x 37", edition 5
Silk Flowers, archival digital print, 37 x 30", edition 5
Los Banos del San Juan II, archival digital print, 19" x 24", edition 5
Milagro's Poster, archival digital print, 12" x 15", edition 5
In the Market, archival digital print, 30" x 37", edition 5
The Cleansing, archival digital print, 30" x 37", edition 5
The Stick, Archival digital print, 20" x 16", edition 5
Laughing and Crying, archival digital print, 16" x 20", edition 5
Martica, archival digital print, 30" x 37", edition 5
Cee Cee, archival digital print, 10" x 12", edition 5
Daina Mattis creates large works on paper with the undulating pressure of thousands of vertical and horizontal graphite lines. Discernible as tally marks, the vibrating lines echo the x and y axis of the picture plane, allowing her to juxtapose overlapping representations of distinct objects. The hatched precision of each mark defines a force of visibility, yet the subtle palette is akin to the color and concept of "battleship grey", a neutral tone typically used by warships to reduce visibility.
For Mattis, the activity of drawing relies on repetition and pattern; it is slow, habitual, calculated and multi-sensory. In her work, time is materialized into line, and process becomes visible.
Daina Mattis (b. 1984, Los Angeles, CA) is a Brooklyn based visual artist. She is the youngest of four children born to Lithuanian immigrants. Her experience of growing up in a bilingual, culturally rich home in Los Angeles has influenced her work and exploration of visual language.
Daina Mattis, Bell Curve, graphite on paper, 50" x 72"
Daina Mattis, Sap, graphite on paper, 75" x 22" (framed)
Daina Mattis, Relax, graphite on paper, 88.25" x 50.5"
Daina Mattis, Pussy Whipped, graphite on paper, 61.25" x 42.5"
Daina Mattis, Nostalgia, graphite on paper, 78.5" x 50.5"
Daina Mattis, Gotcha, graphite on paper, 27" x 46.5"
Daina Mattis, Capital, graphite on paper, 117" x 50"
Gus Yero, Climbing Roses, acrylic on canvas, 70” x 62”
Gus Yero, Pyramid Club, acrylic on canvas, 68” x 60”
Gus Yero, Light and Blue, acrylic on canvas, 60" x 48"
Gus Yero, Walking in Rain, acrylic on canvas, 44" x 46"
Gus Yero, Shifty Checkers, acrylic on canvas, 46" x 44"
Perry Burns received his BFA from the Rhode Island School of Design in 1988. Since then he has been making paintings that merge the traditions of Islamic pattern and abstract expressionism. Burns' focus is on color, shape, line, mark, texture and pattern. “I do not want to reproduce the visible, I want to create an experience of perception.” Burns has exhibited nationally and internationally, including at the Islip Art Museum as well as the Parrish Art Museum. His work is held in numerous private collections.
Perry Burns, Night Lily I, Oil on canvas, 36" x 36"
Perry Burns, Night Lily II, oil on canvas, 36" x 36"
Perry Burns, Blue Doves, oil on canvas, 36" x 72"
Perry Burns, Chrysanthemum Tapestry, Oil on canvas, 51" x 84"
Perry Burns, Frozen Sky, oil on canvas, 48" x 36"
Perry Burns, Four Seasons, oil on canvas, 48" x 48"
Perry Burns, Dahlia I, oil on canvas, 48" x 36"
Perry Burns, Hydra, oil on canvas, 24” x 20”
Perry Burns, Ellsworth's Bouquet, oil on canvas, 24" x 20"
Perry Burns, Venus, oil on canvas, 36" x 28"
Perry Burns, Wallflower II, Oil on canvas, 48" x 48"
Perry Burns, Wallflower I, Oil on canvas, 48" x 48"
Perry Burns, Water Fossil, oil on canvas, 36" x 72"
Perry Burns, Sky Garden, oil on canvas, 51” x 84”
Perry Burns, Tree of Life, oil on canvas, 84” x 51”
Perry Burns, Flower Tapestry 1, Oil on canvas, 44" x 54"
Christian Little’s acrylic paintings on wood panel examine a voyeur culture preoccupied with sex, drama and the lives of others. The works are simultaneously voyeuristic and participatory, erotic and sterile, stiff and fluid, analytic and absurd.
Little’s Exhibitionists paintings, which depict human “sculptures” on top of pedestals, reference shunga, Japanese erotic prints from the 18th Century. But while most shunga contain sexually explicit imagery, Little’s Exhibitionists create sexual innuendo subtly through abstraction and an elaborate combination of painting styles.
The "look at me" culture’s addiction to oversharing is intimated in the format of the paintings; their square shapes mimic Instagram posts and profile pics.
Little challenges the dimensional limitations of traditional painting with his use of trompe l’oeil and decorative painting techniques, using paint self-consciously to address painting’s history. Faux finishing techniques and simulated textures act as visual anchors, alluding to the material world as well as the virtual and imagined.
Christian Little lives and works in Kingston, NY. He earned his BFA ('05) and MFA ('15) in Painting/Drawing from SUNY New Paltz. He has exhibited at Dorsky Gallery Curatorial Projects in Long Island City and The Kingston Museum of Contemporary Art in Kingston, NY. Recent solo shows include The Silent Barn in Brooklyn, NY and The Hewn Arts Center in Jersey City, NJ.
Christian Little, Exhibitionists #10 (Tanning Bed), acrylic and mixed media on wood panel, 24" x 24"
Christian Little, Exhibitionists #13 (Breakfast in Bed), acrylic on panel, 24" x 24"
Christian Little, Exhibitionists #3, Acrylic on panel, 36" x 36"
Christian Little, Exhibitionists #2, Acrylic on panel, 36" x 36"
Christian Little, Exhibitionists #5, Acrylic on panel, 36"x 36"
Safe Sex, acrylic on wood panel, 36" x 36"
Sextuple Dutch, acrylic on panel, 36" x 36"
Exhibitionists #10 (Spa), Acrylic on panel, 24" x 24"
Hard Feelings #5 (Towel Tango), acrylic and paper on panel, 12" x 12"
Margaret Garrett's abstract paintings capture the elusive qualities of rhythm and movement. Born in North Carolina and raised in Pennsylvania, she grew up training to be a dancer and, at the age of sixteen, left home to join the Pennsylvania Ballet. She later danced with the Cleveland Ballet as a soloist. In her early twenties she discovered painting, finding something spiritually akin to dance in the movement of line and color.
"When I begin work on a new piece, I see the paper or canvas as an empty stage and the line as movement. Texture, form, the way colors interact are all different manifestations of motion, rhythm, and energy."
Garrett often works in ongoing series, developing a language and following it as it morphs and evolves. Her Tuning Fields series, now numbering over 300, uses line-driven layers of color to create loose, yet formal, fields of motion that are abstract but also reference shapes and patterns found in nature. In her Choros series of paintings, collages and woodblock prints, the central preoccupation is with an interplay of shapes that have a solid, even muscular, form to convey a sense of motion and choreography. Journal is ongoing series of paintings that use gesture and layers of acrylic wash to reflect the season and place of each painting.
Margaret Garrett's work has been exhibited across the United States and is held in several museum collections including Guild Hall Museum and the Parrish Art Museum. Her work is also held in numerous private and corporate collections. She lives and works in Shelter Island, NY.
Margaret Garrett, Safety, acrylic on linen, 64" x 70"
Margaret Garrett, secrets, acrylic on linen, 43” x 61”
Margaret Garrett, Journal (by the sea), acrylic on linen, 43" x 61"
Margaret Garrett, Tuning Fields 303, oil on linen, 30" x 58"
Margaret Garrett, SOLD, Journal 7.17.17, acrylic on linen, 51" x 66"
Margaret Garrett, SOLD, Journal (at dusk), acrylic on linen, 43" x 61"
Margaret Garrett, writ in water, acrylic on linen, 66" x 51"
Margaret Garrett, Dancing Flowers, The Kiss, acrylic on paper cut and pasted, 14” x 11.5”
Margaret Garrett, Dancing Flowers, Il Fiore Danzante, acrylic on paper cut and pasted, 14” x 11.5”
Christa Maiwald earned an M.F.A. from the School of the Art Institute of Chicago in 1973 and moved to New York shortly thereafter, establishing herself as a video artist with solo exhibitions at the Whitney Museum of American Art, Anthology Film Archives, Holly Solomon Gallery and Franklin Furnace, among others. In 1979 Maiwald was included in the Whitney Biennial.
After a detour into screenwriting, she resumed her career as a fine artist with paintings, sculpture, installations, and since 2000, embroidery and photography. Recent bodies of work include “Cake Performances”, in which she feeds gallery attendees freshly baked confections, while exhibiting photographs of the cakes taken outdoors in natural settings. Her embroideries, mostly narrative portraits, juxtapose the dainty, feminine “craft” of sewing with politically charged and often difficult subject matter. Dictators and heads of state, for example, who have become notorious for their brutality, are rendered in bright hues on little girl’s party dresses.
Maiwald works in conceptually integrated series that explore human interactions and relationships. Each iteration of a particular theme reinforces the repetitive nature of that human behavior, and more often than not, it is bad behavior being referenced. Wordplay and verbal puns allow Maiwald to spotlight social injustice and human folly. She sews obsessively by hand, documenting the transgressions of public figures, celebrities and ordinary people who are flawed, vulnerable and human.
Maiwald had a solo exhibition at Guild Hall in East Hampton, NY in 2013. Her embroideries and photographs have been shown internationally, including at the Museum of Arts and Design in New York City, Galerie Houg in Lyon, France, the Parrish Art Museum, the Heckscher Museum of Art, and the Florence Lynch Gallery. Her work, “The Cake and I”, is held in the permanent collection of the Parrish Art Museum.
Christa Maiwald, Giacometti Cake with Feathers, Archival pigment print, 24" x 20" (approx.) Variable sizes
Alexis Martino’s photographs read easily as film stills. Working with young adult “collaborators”, she creates narrative tension between past occurrences and future ones, reality and fiction, horror and delight. Her storytelling often reveals a sense of unease, longing or anticipation. The works comprise a collective coming of age story gone rogue.
Martino lives and works in Shelter Island, NY.
Monica Banks’ sculptures of miniature porcelain figures depict organic forms on the threshold between life and death or replicas of the deceased. Her “domestic monuments” to suffering and lifeless creatures suggest narratives addressing the mass graves of major disaster sites, both natural and man-made, in which human forms are numerous and anonymous.
Banks’ figures are presented on porcelain cakes and cake stands, which serve as tributes to the “victims” and stem from her empathy for her subjects. The cakes also explore themes of consumption, ephemerality and craft, as well as gender roles in the home. Banks’ assemblages of tiny “abject pottery” serve as humble artifacts of domesticity - archeological remnants of family, food and love.
Monica Banks lives and works in East Hampton, NY. Her work is held in the permanent collections of the Parrish Art Museum, The Islip Art Museum, The Museum of Contemporary Art at U Mass, Amherst, and The Catherine Konner Sculpture Park. She has exhibited at White Box, the Center for Architecture in NYC, The Carriage House at the Islip Art Museum, the Heckscher Art Museum, among other venues. She created “ Faces: Times Square,” a block-long sculpture which stood in Times Square from 1996-2009, for which she won an award from the NYC Public Design Commission. Her permanent public works are located in the Bronx, Binghamton NY, and Charlotte NC. She has been exhibiting sculpture and creating site-specific installations since 1989.
Ode, porcelain, 9.75" x 7" x 7"
Celebration, porcelain, 8" x 7.75" x 7.75"
Anthem, porcelain, 6.5" x 7.5" x 7.25"
Hymn, porcelain, 10.1" x 5.75" x 5.5"
Ceremony, porcelain, 9.5" x 7" x 7"
Communion, 1 1.5" x 7.25" x 7.25"
Eminence, porcelain and fine silver, 8" x 3.6" x 3.6"
Exaltation, porcelain, 9.25" x 7.2" x 7.2"
Monica Banks, Animal Hands, glazed English porcelain, 15" x 10" x 10"
Cara Enteles’ paintings explore the impossibility of symmetry, order and exactness in nature. Drawing from Shakespeare’s line in Hamlet, “art holds a mirror up to nature”, she seeks to illustrate the dichotomy between organic, natural growth and the human gardener's attempt to control it. An avid gardener herself, Enteles splits her time between New York City and the Catskills, where access to the surrounding wilderness informs her work.
Enteles has long addressed environmental issues that plague our natural world: oil spills, colony collapse disorder, and fracking are some examples. Her paintings allude to circumstances in which human activity threatens nature, yet the work is neither sententious nor moralistic. In fact, the casual observer will find a collection of beautiful paintings of plants and animals, albeit with an unusual sheen in the surrounding water or an emphasis on “alternative pollinators” should the honey bees become extinct.
Because she paints on industrial supports, aluminum panels or layers of plexiglas often bolted to the wall, Enteles’ works contain an inherent tension between the organic subject matter depicted and the materials with which they are constructed. Birds, butterflies, bees and flowers set against a backdrop of reflective material literally hold a mirror to nature, while gold-toned plexiglas backings on her pollination paintings evoke pollen. The transparency that plexiglas affords provides a means for three-dimensional representation - Enteles paints on both sides of the plexiglas - further reinforcing the realistic and imperative nature of her concerns.
Enteles received her BFA from Parsons School of Design. She exhibits internationally and her work is held in private and public collections including Pricewaterhouse Coopers, Microsoft and WilmerHale. She has exhibited at Wave Hill, The HVCCA and The Islip Art Museum.
Cara Enteles, Backroads, Oil and silkscreen on acrylic sheet, 45” x 68”
Cara Enteles, Cascade, Oil and silkscreen on layered acrylic sheet, 36" x 30”
Cara Enteles, Late Summer, Oil and silkscreen on aluminum panel, 32" x 48"
Cara Enteles, A Mirror to Nature, Day and Night, diptych, oil, silk screen and spray paint on acrylic sheet, 36" x 48"
Cara Enteles, Lush Spring, Oil on acrylic sheet, 32” x 48”
Cara Enteles, Garden of Optimism, SOLD, oil and silk screen on aluminum panel, 36" x 60"
Cara Enteles, Gone Wild, oil and silk screen on acrylic sheet, 48" x 43"
Cara Enteles, Vines, oil on aluminum, 16" x 16"
Cara Enteles, Almond Pollination, oil on aluminum, 48" x 48"
Cara Enteles, A Mirror to Nature (revisited), oil and silk screen on acrylic sheet, 48" x 72"
Anne Raymond received a BFA from the University of Texas at Austin, and attended the School of Visual Arts in New York. She has exhibited nationally and internationally, and her work is held in the permanent collections of several museums, including the Museum of Fine Arts, Boston. "In both my large abstract oils on canvas and my works on paper, I'm interested in the evocative power of inferred space and energy beyond the edges of the canvas."
Deep Series I, Oil on canvas, 40" x 40"
Sky Composition Blue, oil on canvas, 60" x 60"
Cirrus Cadmium III, Oil on canvas, 60" x 72"
Flow, oil on canvas, 36"x 36"
Sky Composition Blue, installation view, oil on canvas, 60" x 60"
Morning, SOLD, Oil on canvas, 48" x 48"
Anne Raymond, Windward, oil on canvas, 36" x 36"
Anne Raymond, Reverb, oil on canvas, 60” x 72”
Anne Raymond, Improvisation II, Oil on canvas, 40" x 60"
Anne Raymond, Red February Series IV, oil on canvas, 24" x 20"
Anne Raymond, Solo, oil on canvas, 24" x 18"
Anne Raymond, Blue May, 48" x 60", oil on canvas
Anne Raymond, Sky Composition II, Oil on canvas, 60" x 60"
Anne Raymond, Sonata I, oil on canvas, 60” x 60”
Anne Raymond, Bay Blue II, oil on canvas, 60" x 48"
Anne Raymond, High Light I, oil on canvas, 60” x 72”
Anne Raymond, Floating, oil on canvas, 60” x 48”
Installation view of High Light 1, 60” x 72” and Floating, 48” x 60”
Anne Raymond, Bay North, oil on canvas, 60" x 48"
Steve Miller has been examining the Oxygen/ CO2 exchange of the Amazon region since 2005. For his Health of the Planet (HOP) series, Miller traveled to Brazil to work with local hospitals, where he took X-rays of indigenous plants and animals. Science and technology have always factored in Miller’s art, technology being “the language of our times” and the means through which we all communicate. Like a scientist, Miller investigates and explores in his artistic practice. The paintings in the Health of the Planet series examine relationships between organic forms and technical ones, the macro and the micro, photography and painting, representation and abstraction.
Steve Miller has an extensive international exhibition history including participation in museum shows at the Brooklyn Museum, the New Museum, the Bronx Museum of the Arts in New York, The National Academy of the Sciences in Washington, DC, the Aldrich Museum, the Albright-Knox Art Gallery, the Rose Museum and the Broad Art Museum in Michigan. In 2017 Glitterati published a 160 page monograph of his work of the last twenty years.
Your Version, My Version, inkjet, enamel and silk screen on canvas, 36.5" x 22"
HOP #592, inkjet and silk screen on cotton rag, 31.25" x 24"
Soften the Effect, inkjet, pigment dispersion, silk screen on canvas, 60" x 80"
Swearing Softly, inkjet, pigment dispersion, silk screen on canvas, 62.25" x 40.25"
Cidade Baixa, inkjet, pigment dispersion, silk screen on canvas, 65" x 40.5"
Banana Bonanza, inkjet, pigment dispersion and silk screen on canvas, 64.5" x 40"
Mown into a Softness, inkjet, pigment dispersion and silk screen on canvas, 22" x 26"
Seed Culture, inkjet, pigment dispersion, silk screen on canvas, 27" x 22"
Health of the Planet #575, carbon ink jet, enamel & silk screen, 30”x24”, framed in white
Nuala Clarke's multi-media practice includes painting and drawing as well as video and installation. Her work "concerns the organization of space and how it is intrinsically connected to time." An abiding fascination with the sea, wave action, sea gods and mariners informs her work, as does her relationship with the coast of Ireland. Humor and loss also figure into her work.
Clarke was born in Dublin and received a BA in Fine Art Painting from the National College of Art and Design in Dublin. She moved to New York City in 1993 and in September 2007 received a fellowship to the Ballinglen Arts Foundation, Mayo. She began returning to Ireland to work every year, until In 2013 she moved back full time to the West of Ireland.
Clarke has exhibited at SFMoMa, San Francisco, Hamilton Gallery, Sligo, The National Museum Of Ireland, the Royal Hibernian Academy, and Linenhall Arts Centre, among other venues.
Nuala Clarke, Late Sun, acrylic on canvas, 36" x 48"
Nuala Clarke, All Astir, acrylic on canvas, 36" x 48"
Nuala Clarke, Realities of the Upper Air, acrylic on canvas, 35" x 41"
Nuala Clarke, Sky Coloured III, acrylic on board, 18" x 14"
Nuala Clarke, As Above so Below, acrylic on board, 18" x 14"
Nuala Clarke, Neither Fish nor Fowl nor Good Red Herring, acrylic on board, 18" x 14"
"Somewhere between the forest and the mill...someone made a mistake. This wood was not meant to be a floor. This wood knew from its first days in the sun it was meant to travel, to ferry, to break waves and explore. We witness this wood's quiet, determined rejection of its assigned flatness. In this moment of rebellion and self-determination, finding oceans, and becoming seas, this wood is declaring itself what it was always meant to be..."
David McQueen is a sculptor/ installation artist/ poet who lives and works in Brooklyn, NY. He received an MFA in sculpture from Virginia Commonwealth University and a BA from Oberlin College. He is 2011 NYFA Fellow in sculpture. His work has been exhibited at Socrates Sculpture Park, Wayfarers, The Delaware Center for Contemporary Art, The Bronx Museum of Art, The Dumbo Arts Center and Kim Foster Gallery.
Steven Kinder's recent work reveals his fascination with dynamic tension and movement found in nature. Tornadoes, tidal pools, sunbursts, black holes, combustion, organic symmetry and fractals are among the sources of these deeply saturated and mostly large-scale works. Kinder’s drawings/ paintings - there are elements of both mediums in each work - employ raw pigment, acrylic, pencil and crayon to express the radiant vitality of the natural forces that inspire him.
In his series, the burden, Kinder explores the survival systems and symbols of the homeless. Invisibility, fear, abandonment, levels of despair and street survival are brought to light by recurring motifs such as a woman's hunched body, a cross, a cup, a cardboard sign and a stained glass window. Taken individually, each has its own powerful resonance, but together they describe a narrative of transcendence, pain, systems of commodity and exchange, institutional abandonment, and redemption.
Steven Kinder is a multi-media artist who lives and works in NYC. He attended Cooper Union, and has been making paintings, sculpture, works on paper and “tarps" for over 40 years.
Steven Kinder, Untitled (B3-15), oil, pastel and conte crayon on rag paper, 40 1/2" x 78"
Steven Kinder, G-81-17, Acrylic and pigment on canvas, 40" x 50"
Steven Kinder, G-80-17, Acrylic and pigment on canvas, 38.5" x 91.5" x 2.5" (framed size)
Steven Kinder, the burden (Purple Window #1), 2016, Inkjet on Canson Rag Photographique paper, 84" x 44", Edition 1/3, Printed at Cone Editions Press
Steven Kinder, the burden (Woman #1), 2016, Acrylic and pigment on rag paper, 76" x 50"
Steven Kinder, the burden (Purple Window #1), 2016, Inkjet on Canson Rag Photographique paper, 84" x 44", Edition 1/3, Printed at Cone Editions Press
Steven Kinder, the burden (Green Window #1), 2016, Inkjet on Canson Rag Photographique paper, 84" x 44", Edition 1/3, printed at Cone Editions Press
Since 2013 Malin Abrahamsson has been working on a series of "animation studies", which are intended to be viewed in groupings. Details from these works are often later incorporated into her digital animations, where they are combined with sound and video. In these studies Abrahamsson investigates space, form, color, and composition - the motifs that tie her multi-disciplinary art practice together.
Malin Abrahamsson lives and works in Brooklyn, NY. Her work has been exhibited in New York City and abroad, and she is the recipient of several grants and awards. Abrahamsson is currently working on a sculpture for a Percent for Art commission for the NYC Dept. of Culture with an expected completion in 2017. Other recent projects include Solar Cycle 24: 15 Nightly Public Animation Projections, presented by Chashama, Re:Construction Downtown Dogs, commissioned by Downtown Alliance, and an Arts for Transit Permanent Art Award commissioned by the MTA. Her digital animations have been screened at MoMA and PACE University. She received her BFA with an honorable mention from The School of Visual Arts in 1998.
Animation Study #9, mixed media on paper, 11" x 15"
Animation Study #43, acrylic and mixed media on paper, 11" x 15"
Animation Study# 37, acrylic and mixed media on paper, 11" x 15"
Ocean Property, acrylic and mixed media on canvas, 24" x 36" (diptych - each panel 24" x 18")
Animation Study #44, mixed media on paper, 11" x 15"
Kodakolor, mixed media and acrylic on canvas, 24" x 108" (triptych)
Under Construction, Acrylic and mixed media on canvas, 24" x 108" (triptych)
Animation Study #12, acrylic and mixed media on paper, 11" x 15"
Animation Study # 17, acrylic and mixed media on paper, 11" x 15"
Animation Study #36, acrylic and mixed media on paper, 11" x 15"
Animation Study # 13, acrylic and mixed media on paper, 11" x 15"
Animation Study #45, acrylic and mixed media on paper, 11" x 15"
Yuliya Lanina is a Russian- born American multimedia artist who lives and works in Austin, TX. She aspires to transform the traditional medium of painting into a multi-dimensional and interactive experience for the viewer. Employing surreal imagery to elicit feelings of uneasiness and empathy, Lanina paints and collages bizarre characters that come to life through mechanization, animation, and music. These fantastical creatures are by definition otherworldly, yet they often feel personal and familiar. Greek mythology, with its half-human and half-animal demigods, informs her work, as do Russian fairy tales. Fantastic beings deeply rooted in paganism, mysticism, and symbolism populate her often illogical narratives.