Susanne Kühn

Trail

2010

Color lithograph, Ed. 25 The artist describes his work: My work has often been described as belonging to a category of ‘reductive, geometric abstraction’. In the last decade ho...

Color lithograph with collage, Ed. 25 “My work has often been described as belonging to a category of ‘reductive, geometric abstraction’. In the last decade however, I have been intentionally, slowly reshaping what constitutes my working model to incorporate more surprise and imaginative play. While my work remains what some would call ‘abstract’, image and representation have become more apparent. The two lithographs produced with Shark’s Ink...

Color lithograph with digital collage, Edition 25 Stacey Steers lives and works in Boulder, Colorado, where she is on the faculty of the Film Studies Program at the University of Co...

Color lithograph/woodcut with gold leaf, Ed. 25. Robert Kushner’s “Nahe Nahe II” (meaning soft, sweet and gentle) is a richly colored bouquet of tropical flowers and palm leaves. Kushner combines the delicate lines and bold forms of tropical floral images to create a composition that merges representation with abstraction. The distinctive colors in “Nahe Nahe II” are made with multiple layers of transparent ink from lithographic plates and a woodblock. Overlays of blended colored inks build subtle gradations of color with unusual depth. The woodblock imparts a woodgrain texture...

Zoe Hawk’s surreal serigraphs of forested idylls that mask deeper emotional undercurrents, the exhibition invites viewers into worlds where narrative, memory, and movement quietly in...

Exhibiting internationally since the early 1990s, Suzanne McClelland’s practice includes both large-scale paintings and works on paper, often extracting fragments of speech or text f...

Edition 1/3 BARBARA KUEBEL is a Daphne, AL-based artist who uses oil and pencil for her works on paper and on canvas. She was born and raised in Austria and earned two art degrees f...

Suzanne McClelland fuses painterly marks with linguistic elements, creating rhythmic canvases that explore both visual and written languages. McClelland often begins with poetic verses, names, or numbers that she weaves into the space of her canvas, though she is rooted firmly in a tradition of abstraction, placing her in conversation with figures such as Louise Fishman...