Plastic Paintings

A contemplative study in balance and texture, Diversion is a signed abstract mixed-media painting by American artist Louis Shields. Created as part of the 2018 Millennium Series, thi...

Drift into a quiet reverie with Archipelago, a poetic mixed-media painting from Louis Shields' 2018 Singed Millennium Series. In this atmospheric work, gentle washes of grey mingle w...

Conundrum is a bold and architectonic abstract by artist Louis Shields, part of his Quantum Series exploring color logic, spatial tension, and the visual puzzle of form. Executed in ...

"Exit" by Louis Shields Geometric abstract mixed-media on canvas Quantum series, 2015 Measures: 48" H, 36" W Colors: Red, blue, black, green, off-white.

A vision suspended between reverie and reality, "Touching the Void" is a breathtaking figurative work by artist Louis Shields. Part of his Dancer Series (2018), this mixed-media pain...

A dazzling and emotionally charged original painting by Louis Shields, Heart on Fire captures a moment of kinetic grace and inner intensity from the artist's 2018 Dancer Series. This...

Very interesting oil painting of Igor Stravinsky Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizens...

"Gala's Door" acrylic on canvas painting by Pat Rosenstein.

"ATLAS 09" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both ...

"ATLAS 14" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both ...

"ATLAS 17" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both ...

"ATLAS 09" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both ...

"ATLAS 07" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both an...

ATLAS 06 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

ATLAS 05 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

ATLAS 04 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

ATLAS 03 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

Collage and acrylic painting on wood frame set of 9 pieces.

ATLAS 02 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

ATLAS 01 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

Stef Duffy was born in New York, NY, and studied illustration, figurative painting, sculpture and ceramics at Parsons, FIT, Skidmore and NYAA. Drawing inspiration from both the ma...

Superb large-size aquarelle, created in the 20th century and signed by the artists. This work opens an animated scene in an Arab port, filled with a scene of names and characters of ...

Dipinto realizzato nel 1974 dall'artista e incisore italiano Luigi Senesi (Pergine Valsugana 1938 - Bologna 1978) ad acrilico su tela di cm 80x80. He trained at the Art Institute of ...

"Status Quo" abstract acrylic painting on canvas by Kristina Kralikova, a Slovak artist. Signature and date is on the back. Dimensions: 48"H x 36'W x 1.5"D.

A monumental 183 × 183 cm oil and acrylic on canvas by Alan Rankle in collaboration with Kirsten Reynolds. From the exhibition 'On the Edge of Wrong' at First Gallery in Rome 2010....

Immerse yourself in artistic expression with this Vintage Boho Original Abstract Oil on Paper Series of 6, a testament to American creativity. Each piece exudes vibrant energy and in...

Clider, "Dame à vélo", acrylic on canvas signed.

Simone Gendille, "coucher de soleil bleu", acrylic on canvas, signed, circa 1970.

Luc DELVAUX Abstract painting in strong colors with a playfully gradient. Ready to hang, framed with a passepartout in a handcrafted real wood picture frame in white behind anti-refl...

Abstract painting in wild and powerful strokes. Ready to hang, framed with a passepartout in a handcrafted ash wood picture frame behind anti-reflective acrylic glass. Size withou...

KIEFERS Violet Quartz. Abstract painting in vibrant colors in a red spectrum. Ready to hang, framed with a passepartout in a handcrafted ash wood picture frame behind anti-reflective...

Detlef HAGENBÄUMER “Genesis”. Acrylic on canvas in a set of two.

Abstract painting in different shades of blue with color sprinkles in black. Acrylic on paper. Ready to hang, framed with a black passepartout in a real wood picture frame in black. ...

A very attractive little abstract of a church scene painted in 1971 by Swedish Artist Sven Johannson. Offered in the original pine and dark brown hessian frame. Signed to the upper r...

Oil on Canvas Contemporary Painting in Wooden Frame 24K Gold Leaf 'Time Fighter' An incredible and mystical collection of paintings, after a unique artist Andrew Ryabov - “Travellers...

Contemporary Oil on Canvas Original Painting in Wooden Gold Leaf, "Mermaids" An incredible and mystical collection of paintings, after a unique artist Andrew Ryabov - “Travellers o...

"Defender" Oil on Canvas Original Painting in Wooden Gold Leaf Frame, 2005 An incredible and mystical collection of paintings, after a unique artist Andrew Ryabov - “Travelers of Ci...

Fabulous 1989 Sharon Frazier Foz do Iguaçu, Brazil. A one-of-a-kind waterfalls pastel painting on paper. Signed by the artist in the lower right and titled on the lower left. The pai...

Large acrylic on canvas portrait of a young man with a facial piercing, featuring mosaic like cells that were popularized by the world renowned artist Chuck Close. The reverse bears ...

This painting forms part of 'Endless Wall', the most ambitious and conceptually significant project by Einar Höste, developed in 1986. Conceived as a monumental installation of 456 i...

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...

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...

Erika Rothenberg (B. 1950) "7 Hours, 10 Minutes, a Day" Signed, titled and dated 'Erica Rothenberg 1987 7 hours, 10 minutes a day' (on the reverse) Acrylic on canvas: 50 x 66 i...

"Fantastical Realms: A Nondual Landscape" is a breathtaking painting that captures the wonder and magic of a world beyond the boundaries of reality. The scene is bathed in a soft, ethereal light, giving everything an otherworldly glow. At the center of the canvas, a group of fantastical creatures roam freely amongst towering, twisted trees...

In this John Brevard painting, we see strange and surreal creatures that seems to inhabit a multidimensional world. The overall theme of the painting ...

In this painting, the viewer is transported to a world where the past and future collide. At the center of the painting, we see a female medieval character, dressed in ornate armor a...

In this painting by John Brevard, the theme of the work is nonduality, illustrating the concept that all things are interconnected and inseparable. At the center of the painting, th...

Set of 4 Original by Michelle Nussbaumer