Nancy Larrew Art

Acrylic on plywood realized by Massimo Sonnini in 1999. Hand signed, titled and dated on rear. Very good condition.

Atticus Adams' organically composed modern metal sculptures embody the transformative power of contemporary art, illustrating the creation of beauty, meaning, and emotional impact fr...

Wall sculpture assemblage by Gertie Lowe, from 1978, is a conceptual abstract with everyday objects. Muted neutral tones are contrasted with vibrant accents. Signed and dated verso...

Miniature Landscape of the East Coast of the Scottish Highlands by Contemporary British Artist Angela Wakefield. Brora Beach, Scotland. Art measures 7 x 5 inches Frame measures 12 x...

Abstract Expressionism by Contemporary British Artist, Angela Wakefield. Art measures 12 x 10 inches Frame measure 18 x 16 inches Angela Wakefield has twice been on the front cov...

Daniel Fiorda in this new series of sculptures, continues in many ways the themes that have infused his previous work. For the last several years, Fiorda has dealt with technology, obsolescence, with the trail of discarded tech that humanity leaves behind and what it says about us. The new work takes this thematic one step further. These new wall pieces feature barely concealed found objects, almost fully engulfed by concrete, and yet still eerily discernible: industrial gears, computer keyboards, objects that evoke industrial post-digital eras. This piece is a set of 3 artworks...

Individual technique on grey military blanket Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of F...

Acrylic on plywood realized by Massimo Sonnini in 2000. Hand signed. Very good condition.

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Tranquil Reflections - Serene Coastal Abstract Sea Landscape by Contemporary British Artist, Angela Wakefield. Art measures 12 x 10 inches Frame measure 18 x 16 inches This painti...

In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signage, to sprawling landscapes and unique architectural elements, this exhibition...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...