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Xochi Solis

All tomorrow's parties, 2015

Gouache, house paint, acrylic, acetate, colored paper and found images on museum board / 20 x 15 inches

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Alexandra Emberley FUR SUITE 2012 Remnant VI (Wing), photopolymer film etching & chine-collé. print size: 16” x 24” Remnant II (Ella), photopolymer film etching & chine-collé, print size: 18” x 22.5”

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Ellen Keusen Transit 7, 8, 11, 19 (EK/P 130), 2013 Watercolor Pen on Paper, 38 x 38 cm

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KATE SHEPHERD

Tall Boy, Central Park (LAND exhibit "Painting in Place") / 2013, laser cut plywood, acrylic paint, 29.5 x 17.5

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KATE SHEPHERD 

1: Untitled / 2014, etching ink on screen print, 33 x 21.5

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JAIME DERRINGER / strings

The repetition of shapes and lines is an exercise used to escape from everything else around me, to draw the viewer into this space. I don't typically plan anything—everything is intuitive; I go where the art takes me. 

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JULIA ROMMEL

1: C oil and bleach on linen 11 x 9 inches | 2012

2: Delaware oil on linen 9 x 8 inches | 2010

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Julian Lorber

Line Aphasia_Negative / 2013, acrylic paint, urethane plastic on aluminium panel / in private colection

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Nigel Bird THE CONTENT IS THE FORM IS THE MAKING

Levels, 40x50cm / Carbon deposits and white gloss paint on paper

Much of my work originates from Landscape. My recent work is as much to do with the process of making as it is about I see, hear, smell, taste, feel or touch. The nature and character of the place that inspires me; how it might have been made and its spiritual significance are features that inspire me to make my Art. I do not use colours; instead I rely upon using the raw innate colour of black pastel, charcoal and Indian ink. These can make debris that I sometimes integrate into the composition of the image. The debris sometimes being of paramount importance to the meaning of the image. Some of the work I do is large, big enough for me to be physically and actively involved in the making of marks, attempting to reflect something about the spirit of the place that is inspiring me.

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#MA15-170

A new geometric design every day.

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Erin O’Keefe / Collection 

I make fictional sculptures expressly in order to photograph them. The photograph, rather than the object, is the final product. I make the objects, which are flat, from pieces of photographs that are in large part sourced from other sculptures. The constructions rely on the three-dimensionality depicted in these fragments to create the illusion of a sculptural object. I am fascinated by the way we use photography to take stock of the objects in the world – art objects in particular. I want to use photography to collapse archive and object into one another.

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Eden Some Engaged in Dialogue

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Victor Pasmore

Three Images, 1975 Etching and aquatint 66cm x 49cm (image); 100cm x 70cm (sheet)

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Noël Skrzypczak

2014 Mountain Painting  #9 188 x 146cm Synthetic polymer paint on canvas

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this one!

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Alexa Alyssa Aufmkolk work with Rosa Basurto

from the series “Les Mondaines”, Aranda de Duero & Marseille, / 2013

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Mary Ramsden, SWIPE

"...this television is just a large, broken radio with abstract art on the front."

/ 2015, oil on board, 
two parts: 50 x 40 x 3.5cm (each) /
50 x 80 x 3.5cm Courtesy of the artist and Pilar Corrias Gallery. Photo: Ken Adlard.

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INKA JÄRVINEN / a Helsinki based graphic artist

PART I, UNTITLED 1

Offset print 58 x 85,5 cm Edition of 100 / 2013, From the exhibition "Spaces in Between"

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this one!