Benjamin Olatunji

Green Lantern 2

2022

Subrata Gangopadhayay - Untitled 36 x 48 Inches Acrylic on canvas 2024 Inclusive of shipment in roll form. Should you want it framed and ready to hang ..please let us know and we wi...

Acrylic on canvas Shin Seung-Hun is a South-Korean artist born in 1979 who lives works in Jeju Island, Korea. He is considered by critics as the new Korean Takashi Murakami. ...

The source of the young artist Michal Cygan´s art is to be found in the Silesian landscape, both in its material and its cultural dimension. The form of three-dimensional model is gi...

The Dutch multidisciplinary artist, Ger Doornink, specialises in painting, illustration and photography. Time spent living in Tokyo, Milan and currently Amsterdam, has heavily influe...

This painting is from the Series Duchamp Bogumił Książek was educated at the Cracow’s Academy of Fine Arts (1995-2000). 2003 -2009 he lived and worke...

Acrylic on canvas.

Original acrylic painting on canvas. Hand signed on front by Mr. Babes. Canvas is not stretched. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered. About the Artist: James “Babes” Kopp (b.1983), professionally known as MR.BABES, is a Miami-based neo-pop artist whose vibrant paintings are exhibited and collected around the world. After receiving his BFA from The Art Institute of Fort Lauderdale, Kopp found 15 years of notable success across South Florida as an investment art broker...

Acrylic paint on canvas Hand-signed lower right « Here the barbaric or savage ceremonies of New Guinea take on the air of Rio carnival. Here the vitality bursts and the colors dance...

Acrylic paint on canvas Hand-signed lower right « Here the barbaric or savage ceremonies of New Guinea take on the air of Rio carnival. Here the vitality bursts and the colors dance the jig while thundering. A charivari of African masks, children's drawings and neon colors invades the meticulously meshed backdrops with volcanic overflows. It seems that within a kindergarten class, merry feathered wizards have joined together to cover the canvas or the paper with totemic figures strewn with the most inventively unexpected graffiti, in a creative frenzy so bubbling that the anarchy that threat recovers as in spite of itself a semblance of balance. The graphic design performs an enveloping and virtuoso dance that passes from the most wisely academic exercise to the most exuberant and Dionysian lyrical expressionism. It's flamboyant, paroxysmal and wonderfully joyful. Should we detect here any influence of the spirit of "outsider art", today widespread worldwide? Perhaps, but then it is undeniable that the personal temperament of Mohammad ARIYAEI...

This is a framed original painting. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...