Conceptual Paintings

Set of 2 Blue Minimal Paintings. This is an original artwork realized by TUSET in 2019. We can frame it in natural wood or black on request. The dimensions of each painting are 41 x...

Enduring Echoes portrays a striking and vibrant portrait of a man, set against a bold and contrasting background. The artist uses a rich palette of purples, reds, and oranges, highli...

In the paintings of this series , images of antique figures and statues are used to talk about the eternal in modern language , as well as to present antiquity in a modern way .The w...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

This contemporary abstract painting de depicting a portrait of two women, titled "Diversity in Unity," was created by French artist Natalya Mougenot. The artwork explores the theme o...

Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be shipped rolled in a tube Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Diti Almog (Israeli, b. 1960) CMMM, 1999; Acrylic on aircraft plywood; Signed, dated and titled; 12'' x 14''; Provenance: Baldwin Gallery, Colorado BIOGRAPHY Born Haifa, Israel ...

This artwork is a vibrant fusion of abstract and figurative elements, showcasing the artist's bold approach to color and form. Dominated by earthy tones and metallic gold, it feature...

This artwork features a vibrant diptych contrasting two panels. The left panel showcases two stylized roosters in orange and cream, set against a vivid pink backdrop. Their swirling,...

This eye-catching artwork boldly juxtaposes vivid and muted tones to create a dynamic visual experience. Three pairs of lips, rendered in pastel pink and blue, dominate the compositi...

This dynamic abstract artwork features a rich tapestry of colors and textures. Dominated by vertical streaks, it employs bold blues, earthy browns, and deep reds, which cascade down ...

This artwork boldly captures the viewer's attention with its dynamic use of color and form. Dominated by vibrant reds, deep blacks, and earthy browns, the piece creates a striking vi...

This striking abstract artwork features bold vertical streaks of color, commanding attention with its textural richness and energetic composition. Dominating the canvas are layered b...

This artwork features a striking horizontal composition split into two panels. The dominant elements are wide, sweeping white curves that create a dynamic tension against a deep, ear...

This artwork presents a striking figure at its center, set against a minimalist gray backdrop. The subject is characterized by a distinct, traditional attire with bold, African triba...

This artwork vividly captures the essence of vibrant cultural expression through its compelling use of color and form. The central figure, resembling a traditional doll, is adorned w...

This artwork is a striking blend of abstract geometry and mythical imagery. Dominating the composition, a stylized unicorn, rendered in muted earth tones, emerges from the bottom lef...

Seeking Perfection portrays a young lady clutching a book titled How to Behave on a First Date, her expression a mixture of hope and apprehension. This artwork explores the societal ...

Black And White Minimal Painting is an original artwork realized by TUSET in 2020. We can frame it in natural wood or black on request. The title of this works is "From the Apollon...

This new series of works by the multidisciplinary artist TUSET (1997, A Coruña) shows us a completely unique dynamic. In these works he uses the concrete of the construction as picto...

This painting was exhibited at the art exhibition in Innsbruck (Contemporary Art Fair 2019), as well as in Marbella (Excellence Art gallery), Florence (Art Expertise), and Madrid (APPA art gallery). "Remember?" is a conceptual science painting...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Sayeed Momoh is...

This striking artwork showcases a series of abstract buildings, each uniquely colored and adorned with whimsical windows. The composition is dominated by bold shades—deep greens, vib...

The artwork features a striking composition of abstract faces, each rendered with bold, flat colors and outlined in sharp, decisive lines. Dominating the canvas are faces that appear...

Through my artwork, I sought to capture the timeless allure of elegance and introspection. The rich oil on paper dance to create a figure robed in a coat radiating warmth and mystery...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

SALE ONE WEEK ONLY Jennifer's "Untitled" piece appears to be a landscape with a colorful stripped form arising out of the grasses. It is an iconic image that she incorporates into her work. The following excerpt from her Artist Statement best describes her feeling about it: I stopped the slug imagery and started making purely abstract paintings. Eventually, abstract lines and forms evolved into “characters.” They lived in landscapes of a realistic sort. They were abstractions on a representational journey. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. They were the slugs transformed. Evolved slugs and broken out from their cocoons. They had become abstract “butterflies.” Jennifer Wynne Reeves was known for creating a body of paintings, drawings and photographs that speak to and confront formalist and humanist dilemmas. Beyond her achievements in the art world, Reeves enjoyed a considerable fan-base as a result of her astonishing Facebook presence where she chronicled and interwove her art and diaristic prose. Reeves solo exhibitions included Art & Public in Geneva, Gian Enzo Sperone in Rome; Max Protetch, Ramis Barquet and BravinLee programs, NYC. Reeves was also celebrated for her writing. She produced a graphic novel, The Anyway Ember and Soul Bolt, a book of images and prose. “Profoundly rewarding works” said LA Times writer, David Pagel, in a review her 2015 exhibition at CB1 Gallery. Reeves is a John Simon Guggenheim Fellow recipient. The following is an artist’s statement about her theory off work: “Twenty years ago, I called them slugs. In the beginning, they were like long lumps without arms or legs. Powerless. Difficult. Paralyzed. I thought maybe they were the symbols of sloth or depression or fear. They didn’t do anything. I wondered if I should stop making them? They were not beautiful. Nobody liked them. Nobody wanted to look at them. They were repellent and, worse, they were funny. I hated that. I wanted to be a “serious” artist. I was conflicted. I had to make the images that came to me but I was embarrassed. Maybe it wasn’t a fancy path but painting slugs was more honest than painting flowers (nothing against flower paintings, mind you). It came down to a moral choice. So, I determined to follow the slug road. Maybe it was a road that led somewhere? Or maybe not. After several years, I thought I hit a dead-end. I stopped the slug imagery and started making purely abstract paintings. Eventually, abstract lines and forms evolved into “characters.” They lived in landscapes of a realistic sort. They were abstractions on a representational journey. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. They were the slugs transformed. Evolved slugs and broken out from their cocoons. They had become abstract “butterflies.” Little kids liked them. I hated that. I wanted to be a “serious” artist. I’m not sure, exactly, who they are. They could be our conscience, our psychology, or simply the part inside us that yearns. They could be artists, modernists or the first of “us” that crawled out of the ocean. My best hunch is they are whatever it is that makes us want to make. I hope that’s a good thing and beautiful and seriously funny. Whatever the case, I’d like to know what it’s all about.” Jennifer Reeves...

Glory, 2015 12” X 9" Oil on paper Framed A painter, sculptor, and installation artist, Niki Singleton draws on both popular culture and mythology in order to create works that...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Expectation is said to be the mother of manifestation. Expectations do come to reality if worked upon and not aborted. This painting depicts the posture of a woman in her gestation period waiting to be called a mother as soon as she puts to bed. A painting inspired by my wife during her second trimester, as she was overwhelmed by the joy of seeing her first child which later turned out to be a baby girl. About Artist Oluwatobiloba Amusan...

Dinosaur, 2011 53 x 43 inches Acrylic, oil, latex and image transfer on board $3300 2015 A painter, sculptor, and installation artist, Niki Singleton draws on both popular cu...

Enduring Echoes portrays a striking and vibrant portrait of a man, set against a bold and contrasting background. The artist uses a rich palette of purples, reds, and oranges, highli...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authen...

In a world where the weight of challenges can often feel overwhelming, art has the extraordinary power to reflect the human experience and serve as a source of inspiration and hope. "Against All Odds...

'To The Slow Graceful Dance' Original Artwork A breeze in the theatre, a dance begins, costumes rising to the rhythm of the birdsong choir. The pai...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Having been nurtured by a Yoruba father who happens to be a twin was a major inspiration for creating this painting. In Yoruba culture, twins are considered a special blessing from God. They are mostly called ‘ibeji’ which means twins. In Yoruba society, twins are given special names, such as Taiwo (meaning “first to taste the world“) and Kehinde (meaning “second to taste the world”). It is mostly believed that twins have special privileges and are accompanied by several fortunes. About Artist Oluwatobiloba Amusan...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

This piece is part of my private collection of 20th Century artists that were part of the School of Paris era. This piece is original and signed by Pelayo and numbered.

"Her" by Aba Linus is a striking testament to the power of visual storytelling and the celebration of feminine strength and elegance. In this captivating artwork, a young woman is po...

"Bimbo" by Aba Linus is an exquisite portrayal of timeless elegance and grace. The centerpiece of this enchanting artwork is a young woman, adorned with a stylish hat perched atop he...

"Do not judge me by my success, judge me by how many times I fell and got back up again." I can do all things through Christ which strengtheneth me. “The peasantry ceased, they ceas...

"Extraordinary Woman" by Michael Adetula is a captivating artwork that celebrates the unique beauty and personality of a young woman who exudes confidence and charm. At first glance,...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. A young girl holding a yellow rose flower is seen in this painting during her playtime rejoicing after receiving a piece of good news. The yellow rose flower is a symbol of joy, happiness, and gratitude. About Artist Oluwatobiloba...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. The thematic expression of this art piece was crafted from the experience of what women especially wives and mothers had to go through to ensure that their homes were sustained. This art piece tends to inform her female audience; most especially intending wives and mothers that what keeps the home is not primarily in the acquisition of degrees and certifications but in having the requisite knowledge and consciously fulfilling their role as home builders. About Artist Oluwatobiloba Amusan...

"Beyond Shadows," an evocative artwork by Aba Linus, captures a profound and tender moment of connection between two women. In this piece, the two figures are depicted resting on eac...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

As a model being a fashionista gives and creates room for you to keep your style and interest the way you feel and the way you want it to be, deciding to keep your style very simple,...

The work is on 1 paper. Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About...

In the captivating artwork titled "Comfort Zone," artist John Ali masterfully captures the essence of introspection and the complex interplay between identity and personal space. The...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About...

“Progress is impossible without change, and those who cannot change their minds cannot change anything.” “I am no longer accepting the things I cannot change. I am changing the thing...

"Far From Home" by Michael Adetula is a poignant artwork that eloquently captures the essence of the human pursuit for a better life and the bittersweet experience of being far away ...

"My Father's Car" is a striking artwork created by Desmond Akindoju, depicting a young man sitting in a car as though he's the driver, complete with a...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Signed on the front side and ac...

The focal point of the artwork, the man's free-flowing dreadlocks, serves as a potent symbol of individuality and cultural diversity. In many cultures, dreadlocks have deep-rooted historical and spiritual significance, representing a unique connection to heritage, self-expression, and identity. By emphasizing the man's hair in the portrait, Adetula calls attention to the fact that discrimination often arises from superficial judgments based on appearance, whether it be hairstyles, clothing choices, or language differences. The artwork's title, "I Need Some Love," conveys a heartfelt plea for compassion and understanding. It reminds us that discrimination and prejudice have no place in a harmonious and inclusive society. Adetula's creation urges us to break free from these harmful mindsets and cultivate a culture of empathy and acceptance toward one another. The message of the artwork resonates strongly with the call to let love prevail, irrespective of one's origin or outward appearance. Discrimination, whether conscious or unconscious, hinders our collective progress as a society. It erects barriers between individuals and communities, fostering mistrust and animosity. Adetula's artwork encourages us to dismantle these barriers and build bridges instead. Embracing diversity enriches our lives, broadens our perspectives, and fosters a climate of respect and unity. The man's free-flowing dreadlocks symbolize the beauty of embracing cultural differences and recognizing the uniqueness that each individual brings to the table. Moreover, "I Need Some Love" emphasizes the power of love as a transformative force. The artwork reminds us that by approaching others with love, compassion, and understanding, we can create an environment where everyone feels valued, respected, and heard. Correcting people with love, rather than judgment or hostility, allows us to foster meaningful connections and open up constructive dialogues, thereby nurturing a culture of growth and understanding. The man depicted in the artwork is a poignant reminder that every person deserves happiness and love, irrespective of their appearance, background, or language. Embracing diversity not only enhances our interpersonal relationships but also contributes to the betterment of society as a whole. When we treat one another with kindness and empathy, we foster a sense of belonging and acceptance that empowers individuals to thrive and contribute positively to their communities. In conclusion, "I Need Some Love" by Michael Adetula...

The central theme of the artwork revolves around the concept of love, partnership, and the strength that comes from sharing life's journey with someone you truly cherish. The portrayal of a woman standing behind a man is symbolic and highlights the significance of being someone's backbone, providing much-needed support and encouragement in every situation. The title, "My Backbone and I," aptly captures the essence of the artwork. It emphasizes the interconnectedness of the couple, where each person complements and supports the other, forming an unbreakable bond. This piece reminds us that true love involves more than just being there during the good times; it means standing together, hand-in-hand, through life's challenges and triumphs. In the context of the artwork, the woman's presence behind the man represents her role as a steadfast pillar of strength, constantly supporting and empowering him. This representation challenges traditional gender norms, debunking the outdated notion that women should always stand behind men. Instead, it celebrates the idea that a successful partnership is built on mutual respect, equal footing, and shared responsibilities. The artist, Michael Adetula...

Hide, 2015 12” X 9” Oil on found wine box $1400 unframed A painter, sculptor, and installation artist, Niki Singleton draws on both popular culture and mythology in order to cr...

Igor Vishnyakov is a Russian Postwar & Contemporary artist who was born in 1968 in Moscow. Igor spent his childhood in Africa and Southeast Asia. After returning to Moscow in the mid...