Nick Peña

The Bubble - Circular Contemporary Landscape/Abstract Painting, geometric, blue

2017

In POSSIBLE, IMPOSSIBLE, POSSIBLE, Peña combines representational elements of a bright green landscape in the background with a more abstracted silhouette of a house in the middle gr...

Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment. In "From the Bottom Up", Peña takes a more traditional approach to representing a landscape with bold and vivid colors and contrasts the image with a more abstracted and chaotic foreground consisting of arrows and cut Sintra board to act simultaneously as an obstruction and window into the image. The work is framed with a 1 inch white border. Nick...

In BOOM BUST REPEAT17, Peña creates a silhouette of house and fills it with sharpe-edged shapes that contain gradients and saturated hues of red, green, and violet. He balances these colors with muted tones of orange and yellow . The viewer can create a house that is yet to be built in between the gaps here. In "Boom, Bust, Repeat", Peña remarks on a house and landscape that has yet to take place. The painting is created with watercolor and acrylic paint on paper. In the foreground we see Sintra board or flattened PVC that has been CNC routed. In the "soil" beneath the house are small circular lines that have been hand drawn with India ink. The Sintra board has been cut to reveal arrows in the negative space pointing upwards as to hint at a boom in the market. Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment and national psyche. The realization that both the idealistic pursuit of happiness and the relevance of painting in a technologically driven world informs his practice. With each composition the labor begins with digital composites of a fragmented American landscape in peril —where tension lies in the contrasts between past and present, analog and digital, representation and abstraction, and stability and instability. In his most recent series the American home (stability) and fragmented and shifting landscape (instability) are veiled by a digitally produced mat. Traditionally a mat is, by definition, a flat, thin piece of paper based material included within the picture frame and serves as additional decoration when framing artwork. He activates this commonly overlooked material by using a non-traditional material, Sintra (flattened sheet of PVC), that has a negative digitally drawn image cut-out. This cut-out might, at first glance, look hand cut however, a more astute viewer would realize the precision is mechanical. The mat has been transformed from inactive decoration to digitally produced veil that represents the technologically anxious precision we surround ourselves with. Nick Peña...

In "Holes and Slices", Peña creates a silhouette of house and fills it with bubbly curved shapes and contrasts them with sharpe-edged shapes that contain gradients and muted tones of aqueous colors such as teal and light blue. He balances these colors with muted tones of pink and violet. The viewer can create a house that is yet to be built in between the gaps here. In "Holes and Slices", Peña remarks on a house and landscape that has yet to be built. The aquatic nature seems to hint at the possibility of a house and landscape under water. The painting is created with watercolor and acrylic paint on paper. In the foreground we see Sintra board or flattened PVC that has been CNC routed. In the "soil" beneath the house are small bubble-like cut outs where the viewer can see through to the pattern created with watercolor and acrylic paint. Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment and national psyche. The realization that both the idealistic pursuit of happiness and the relevance of painting in a technologically driven world informs his practice. With each composition the labor begins with digital composites of a fragmented American landscape in peril —where tension lies in the contrasts between past and present, analog and digital, representation and abstraction, and stability and instability. In his most recent series the American home (stability) and fragmented and shifting landscape (instability) are veiled by a digitally produced mat. Traditionally a mat is, by definition, a flat, thin piece of paper based material included within the picture frame and serves as additional decoration when framing artwork. He activates this commonly overlooked material by using a non-traditional material, Sintra (flattened sheet of PVC), that has a negative digitally drawn image cut-out. This cut-out might, at first glance, look hand cut however, a more astute viewer would realize the precision is mechanical. The mat has been transformed from inactive decoration to digitally produced veil that represents the technologically anxious precision we surround ourselves with. Nick Peña...

Jack Youngerman, American (1926 - 2020) - Blue Circle, Year: 1981, Medium: Screenprint, Pochoir and Intaglio on Arches Paper, signed, dated and numbered in pencil, Edition: 11/75...

William Perehudoff (1918-2013) is one of the most cherished and collected Canadian abstract painters. His work exemplifies how color field painting was expressed in Canada. Perehudo...

Barcelona native artist Raul de la Torre's vibrant abstract mixed media artworks pay homage to textiles. De La Torre allows the materials to take over during the process and collabor...

For these paintings, Wolf uses expanded metal as a brush and thus creates abstract paintings. The irretrievable moment is found here in the expressive painting process. Also, he adds...