Abstract Geometric Mixed Media

Contemporary artwork by New York artist David Rockwell. Oil and 3D printing on stretched canvas and wood frame. Rockwell makes paintings that live on the borders between traditional...

Encaustic work of art by an acclaimed Maine artist Sara Crisp. Sara Crisp draws inspiration from the delicate balance between the natural and the human-ma...

Abstract geometric artwork by a contemporary artist Gerald Wolfe. Gerald Wolfe’s wall pieces have a three-dimensional, architectural feel. The artist’s approach to his paintings is intuitive. He meticulously creates his works step by step, imbuing shapes and lines with energy. The interplay of forms, color, and texture creates tension between flatness and depth. His work can become a unique gift and will be a wonderful addition to any space, be it a living room of a modern home or a lobby of a commercial building. Gerald Wolfe received a Bachelor of Arts degree in history from the University of Maryland in 1972, discovered his interest in art and went on to study fine arts at the School of Visual Arts in New York City. In the summer of 1974, he also studied at Skowhegan School of Painting and Sculpture in Maine. From his first show in 1979, a summer invitational at OK Harris Gallery, Gerald has shown his work on a consistent basis in New York, including such galleries as Denise Bibro Fine Art, NYC, and Kim Foster Gallery, NYC . In addition, he has had solo exhibits at the Paterson Museum in Paterson, New Jersey...

This piece catches the attention of the viewer with its colorful, geometric, and abstract design.

Anila Quayyum Agha All the Flowers are for Me - Burgundy, 2016 Laser-cut encaustic embroidery on paper 21 x 21 inches 53.3 x 53.3 cm AQA038 Anila Quayyum Agha examines issues of global politics, cultural identity, mass media and gender roles in her multidisciplinary practice. The Pakistani-American artist is best known for her immersive, large-scale light installations in which she laser-cuts elaborate patterns into three-dimensional cubes. Suspended and lit from within, the cubes cast lace-like, floor-to-ceiling shadows that completely transform the surrounding environment, alluding to the richly ornamented public spaces such as mosques that Agha was excluded from as a female growing up in Lahore. In addition to her suspended light installations, Agha also creates wall-mounted sculptural works, including her Flowers series (2018) that explores love and loss inspired by the mixed emotions she experienced following her son’s wedding and mother’s passing, events that happened in the same year. Although these works may appear decorative, they are imbued with meaning, from the floral patterns that express the beauty and femininity of her mother, to the metallic threads commonly used for wedding dresses in Pakistan. The visual elements collectively amplify the interplay between the matrimonial and the funereal, and by extension, the larger cycle of life. To produce these elaborate works, Agha laser-cuts vibrantly hued encaustic paper with intricate patterns and adorns them with light-reflecting embroidery and beads. These exquisitely detailed drawings are framed within shadow boxes, allowing light to pass through the cut-outs and cast patterned shadows in a manner similar to her large-scale light installations. The framing and shadows allow these works to transcend their two-dimensionality. Anila Quayyum Agha has an M.F.A. in fiber arts from the University of North Texas. She has exhibited her work across the globe, including in the 2018 Kansas City Biennale, curated by Dan Cameron; the Peabody Essex Museum, Massachusetts; the Brooklyn Academy of Music, New York; the Dallas Contemporary Art Museum, Texas; the National Museum of Sculpture, Valladolid, Spain; and the Cheongju Craft Biennale, Korea. Her work is in the collections of the Cincinnati Art Museum, Ohio; the Grand Rapids Art...

"Connections IV," by Kati Vilim is a blue and yellow - green scale abstract geometric, non-objective, Venetian plaster and acrylic painting on wood panel. ...

"Connections I," by Kati Vilim is a blue and yellow - green scale abstract geometric, non-objective, Venetian plaster and acrylic painting on wood panel. K...

"Uniformly Coordinated Tectonic Preferences IV," by Kati Vilim is a blue and magenta scale abstract geometric, non-objective, oil painting on canvas over wo...

"Uniformly Coordinated Tectonic Preferences II," by Kati Vilim is a blue and magenta scale abstract geometric, non-objective, oil painting on canvas over wo...

In 2021, Edmiston developed a visual language concluding with sixteen irregular shapes which would later serve as the foundation of the exhibit. The varying forms are repeated, resiz...

In 2021, Edmiston developed a visual language concluding with sixteen irregular shapes which would later serve as the foundation of the exhibit. The varying forms are repeated, resiz...

In 2021, Edmiston developed a visual language concluding with sixteen irregular shapes which would later serve as the foundation of the exhibit. The varying forms are repeated, resiz...

In 2021, Edmiston developed a visual language concluding with sixteen irregular shapes which would later serve as the foundation of the exhibit. The varying forms are repeated, resiz...

In 2021, Edmiston developed a visual language concluding with sixteen irregular shapes which would later serve as the foundation of the exhibit. The varying forms are repeated, resiz...

In 2021, Edmiston developed a visual language concluding with sixteen irregular shapes which would later serve as the foundation of the exhibit. The varying forms are repeated, resiz...

So Real, 2013, is a large scale oil painting with a bold saturated palette by abstract geometric artist, Kati Vilim. This abstraction is an optical illusio...

Rosebud, 2013, is a large scale oil painting by abstract geometric artist, Kati Vilim. This abstraction is an optical illusion, with cascading cubical forms in a series of red hues ...

John Gibson is a native of Massachusetts, born in Boston in 1958. He attended the Rhode Island School of design (where he earned a BFA in 1980), before earning his post-graduate degree from the prestigious master’s program at Yale. Gibson had his first one-man show at the University of Massachusetts in 1984, and he began showing in group exhibitions in the Boston and New York areas in the late 1980s. In the early 1990s Gibson’s paintings began to focus on pyramidal compositions of spheres resembling children’s playground balls, decorated in the manner of colorful soccer balls. Executed in oil on wooden panel, these pieces began to attract generous critical praise for Gibson from the pages of the Boston Globe, the Partisan Review, and the New Yorker, among others. Gibson’s paintings are filled with subtle yet provocative disjunctions, which challenge the viewer’s initial perceptions of the pieces. While these images would seem at first to be fairly simple atmospheric, realistic renderings of colorful balls, a closer examination will reveal that the surfaces of Gibson’s paintings are deeply scored by the artist in geometric patterns that sometimes conform to, and in other instances defy, the outlines of the spheres rendered in paint. An invisible substructure is suggested in these incisions, which also serve to reinforce the physicality of the painting. Some pieces also include incised and/or painted suggestions of shadowy architectural spaces (arches, hallways, shallow niches) in which the balls are placed. The scale of the objects rendered is ultimately unclear: the balls could be of the large, inflatable type, but they alternatively suggest the density of much smaller decorated wooden croquet balls...

Totem, 2020, acrylic, oil, artist marker, liquid gold leaf, op-art, pattern, red, blue, yellow. Hand signed by artist Certificate of Authenticity included Framing available

Anila Quayyum Agha Flowers (Orange Circle), 2017 Mixed media on paper (encaustic orange circle with pink beads in center) 29.5 x 30 inches 74.9 x 76.2 cm...

Striking contemporary light work by accomplished abstract artist Philip Vaughan

Balancing III, 2019, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, black and white.

Balancing II, 2019, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, black and white.

Balancing IV, 2019, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, black and white.

Balancing I, 2019, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, black and white.

Options IX, 2020, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, green and white.

Options VIII, 2020, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, blue and white.

Options VI, 2020, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, blue and white.

Options IV, 2020, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, pink and white.

Options V, 2020, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, pink and white.

Habitat Fragmentation I, 2020, Abstract geometry, non-objective, Italian plaster and acrylic on panel. Gray, blue and green.