International Fine Arts Consortium - IFAC Arts Abstract Paintings

Brian Leo Cyber Truck 2020 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York City. He is a graduate of Rutge...

Pierre Carrilero Fucked by the System, 2015 Screenprint on fabric in situ with steel bar construction 140 x 260 cm

It is the End from where we Start (The body as an archive) 2016-2017 Embroidery and painting on canvas 40 x 30 cm Organ: Skeleton Pattern: East European Flower

Is All that we See or Seem but a Dream within a Dream (The body as an archive) 2016-2017 Embroidery and painting on canvas 110 x 90 cm Organ: Eyes, Retina, Design: Inspired by the H...

Wasted Youth #5 2021 Cast acrylic on canvas 36 x 36 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience co...

Wasted Youth #4 2021 Cast acrylic on canvas 36 x 36 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of express...

Wasted Youth #3 2021 Cast acrylic on canvas 36 x 36 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of express...

Wasted Youth #2 2021 Cast acrylic on canvas 36 x 36 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of express...

Wasted Youth #1 2021 Cast acrylic on canvas 36 x 36 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience co...

Hurley Burly #3 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience co...

Hurley Burly #2 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of express...

Bakersfield #13 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of express...

Bakersfield #11 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of express...

Bakersfield #10 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of express...

Bakersfield #9 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of expressi...

Bakersfield #8 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of expressi...

Bakersfield #7 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience com...

Bakersfield #6 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience com...

Bakersfield #2 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of expressi...

Bakersfield #2 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience com...

Bakersfield #2 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience combining aspects of expressi...

Brian Leo Lost Bagage 2018 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York City. He is a graduate of Rutge...

Brian Leo Elephant In The Room 2018 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently livin...

Brian Leo Bison Head 2017 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York City. ...

Brian Leo Baby Yoda Researching Covid-19 2020 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently livin...

Shadow & Fog I, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into ...

Shadow & Fog III, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive int...

Shadow & Fog II, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into...

Maria João Salema (aka JOAO SALEMA) was born, and spent her childhood, in Mozambique, Africa. She later moved to Lisbon, Portugal, and studied at Fac...

Mare, 2013 Oil on canvas 36 x 40 in Maria João Salema (aka JOAO SALEMA) was born, and spent her childhood, in Mozambique, Africa. She later moved to...

Secret Heart, 2013 Oil on canvas 48 x 72 in Maria João Salema (aka JOAO SALEMA) was born, and spent her childhood, in Mozambique, Africa. She later ...

Shadow & Fog V, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into ...

Shadow & Fog IV, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into...

Tumultuous Shadow, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive in...

Surrendering Compulsion, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a d...

Scattered Light, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into...

Restless Thoughts, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive in...

Not Tranquility, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into...

Intoxication & Trauma, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a div...

Burden of Fantasy, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive in...

U and I in Little Toy Shop, 2017 Mixed media on canvas 51.18 x 35.48 inches Dafni Athanasopoulou (1993, Athens) is a painter and model on the rise. Devoted...

CDI, 2017 Mixed media on canvas 51.18 x 35.43 inches Dafni Athanasopoulou (1993, Athens) is a painter and model on the rise. Devoted to the abstract arts, her paintings are modern a...

Practiced My Smile 2, 2017 Mixed media on canvas 48 x 30 inches Dafni Athanasopoulou (1993, Athens) is a painter and model on the rise. Devoted to the abstract arts, her paintings a...

Eric Friedmann Rainbow Dash, 2018 Acrylic polymer and pigment on canvas 30 x 24 inches International Fine Arts Consortium and IFAC Athina present Eric Friedmann in his premier solo ...

Eric Friedmann The Calendar, 2018 Acrylic polymer and pigment on canvas 48 x 36 inches (diptych) International Fine Arts Consortium and IFAC Athina present Eric Friedmann in his pre...

Eric Friedmann Heavy Hitters, 2018 Acrylic polymer and pigment on canvas 48 x 36 inches International Fine Arts Consortium and IFAC Athina present Eric Friedmann in his premier solo...

Eric Friedmann Lipstick, 2018 Acrylic polymer and pigment on canvas 80 x 74 cm International Fine Arts Consortium and IFAC Athina present Eric Friedmann in his premier solo exhibiti...

Eric Friedmann Dirt, 2018 Acrylic polymer and pigment on canvas 80 x 74 cm International Fine Arts Consortium and IFAC Athina present Eric Friedmann in his premier solo exhibition i...

Eric Friedmann AU (Gold), 2018 Acrylic polymer and pigment on canvas 200 x 150 cm International Fine Arts Consortium and IFAC Athina present Eric Friedmann in his premier solo exhib...

Eric Friedmann Death of Marat, 2018 Acrylic polymer and pigment on canvas 200 x 150 cm

Misha Milovanovich Cacodylic from the Inevitable Feeling Series, 2016 Acrylic & oil pastel, ink, enamel and celulose paint on canvas. 72 x 59 cm Hovering between painting, drawing and watercolour sketches, her new work represents a form of personal expression that is less concerned with the impact and novelty of popular culture and more about the quiet uncovering of emotion. Her trademark organic forms are still present though now they are empathetic rather than explosively joyful. The colours are softer, somewhat washed out and hazy, as if half-perceived or remembered. The colour palette and the energy of the mark making reference to the now buried source material -  abstracted Hentai illustrations, Japanese manga-infused depictions of male dominance, rape and power fantasies. The never-satisfied, always distracted state in which this dislocated field of sexual aggression persists stands in for our instantly redundant, surface only culture- transactional, bullying and ephemeral.   Her paintings are sensorially rich and and yet muted, the masses of fleshy intersections and writhing calligraphy feel like they are moving out of the immediate present and floating up out of time.   They are soaked in the in nuances of early modernism- Klee, Miro and Matta. She explores emotive, expressionistic tender spaces in these lyrically rendered conceptual paintings - densely layered works that operate in the enigmatic gaps between rational structure and spontaneity. Misha also echoes Kandinsky and his sensuality of musical movement, evoking his concerns with the spiritual, all emerging naturally from the rich soil she has carefully laid down in her previous work. The language and texture of her materials are important to Misha who prepares her own pigment- paying great attention to form, surface and the moment-to moment physicality of her practice. Misha Milovanovich is a Belgrade-born artist living and working in London. Misha works across several mediums, from sculpture to painting and live art. Characterised by vivid colour, optical movement and energetic visual cadences, Misha's visual work fuses a diverse repertoire of images and forms. She often features discarded shards of consumerism - unloved icons of disposability and careless consumption. Misha's work is often a symphonic abstraction. Her colourful, densely layered works are held in a state of tension between order and chaos, rational structure and spontaneity. She combines depth and surface relief, orchestrating bold contrasts of form, texture and space in her pictures. An intimate colour palette of bodily fluids - red, pink, white, black, yellow and brown - animate the writhing forms and the refracted memories of cartoonish cultural production. A cultural polymath, Misha is constantly engaged in observing society and it’s distortions of desire, lust and attitudes to the body. Traditional techniques have been studied and absorbed and although her work is partly conceptual, it's execution always reflects these hard won technical abilities. Misha's main subject matter is emotion, so naturally her work is highly personal and biographical in ways that create a direct, emotional response from the viewer. Empathy and the universals of human experience - passion, nostalgia, desire and disgust are inescapable in her work. Misha is herself a ‘displaced’ person, having left Serbia for London in her late teens she still carries within her a ‘stranger’s perspective’ and perceives the world as an outsider, someone ever alert to the non-verbal subtleties of communication. Misha's artistic progenitors include her mentor Martin Kippenberger, Wassily Kandinsky and Phillip Guston as well as contemporary artists Gilbert and George, Keith Tyson, Robert Pruitt...

Sofia Housou Alotrope Series oil on canvas 110 x 110 cm Sofia Housou’s post-abstract expressionist oeuvre operates in a dramatic background where colour becomes the vocabulary for ...

Deep blue canvases emphasize the artist’s meditative activity. After openly subverting the soliloquy, Salema quietly defies the meaning of color. The large color fields, created through the use of glazes, acquire a vibrating surface on which quick sepia brushstrokes will allow one to perceive them as landscapes. It is particularly evident that Maria João Salema...

Maria João Salema Is a painter born in Mozambique, she lived and studied in Lisbon, Portugal. Currently living and working in Brooklyn, NY. Represen...

Secret Heart, 2013 Oil on canvas 48 x 72 in

It is particularly evident that Maria João Salema’s approach to painting is based upon an introspective activity centered in her studio. Her existenc...

Misha Milovanovich BimbiBerryBaba from the Inevitable Feeling Series, 2016 Acrylic & oil pastel, ink, enamel and celulose paint on canvas. 72 x 59 cm Hovering between painting, drawing and watercolour sketches, her new work represents a form of personal expression that is less concerned with the impact and novelty of popular culture and more about the quiet uncovering of emotion. Her trademark organic forms are still present though now they are empathetic rather than explosively joyful. The colours are softer, somewhat washed out and hazy, as if half-perceived or remembered. The colour palette and the energy of the mark making reference to the now buried source material -  abstracted Hentai illustrations, Japanese manga-infused depictions of male dominance, rape and power fantasies. The never-satisfied, always distracted state in which this dislocated field of sexual aggression persists stands in for our instantly redundant, surface only culture- transactional, bullying and ephemeral.   Her paintings are sensorially rich and and yet muted, the masses of fleshy intersections and writhing calligraphy feel like they are moving out of the immediate present and floating up out of time.   They are soaked in the in nuances of early modernism- Klee, Miro and Matta. She explores emotive, expressionistic tender spaces in these lyrically rendered conceptual paintings - densely layered works that operate in the enigmatic gaps between rational structure and spontaneity. Misha also echoes Kandinsky and his sensuality of musical movement, evoking his concerns with the spiritual, all emerging naturally from the rich soil she has carefully laid down in her previous work. The language and texture of her materials are important to Misha who prepares her own pigment- paying great attention to form, surface and the moment-to moment physicality of her practice. Misha Milovanovich is a Belgrade-born artist living and working in London. Misha works across several mediums, from sculpture to painting and live art. Characterised by vivid colour, optical movement and energetic visual cadences, Misha's visual work fuses a diverse repertoire of images and forms. She often features discarded shards of consumerism - unloved icons of disposability and careless consumption. Misha's work is often a symphonic abstraction. Her colourful, densely layered works are held in a state of tension between order and chaos, rational structure and spontaneity. She combines depth and surface relief, orchestrating bold contrasts of form, texture and space in her pictures. An intimate colour palette of bodily fluids - red, pink, white, black, yellow and brown - animate the writhing forms and the refracted memories of cartoonish cultural production. A cultural polymath, Misha is constantly engaged in observing society and it’s distortions of desire, lust and attitudes to the body. Traditional techniques have been studied and absorbed and although her work is partly conceptual, it's execution always reflects these hard won technical abilities. Misha's main subject matter is emotion, so naturally her work is highly personal and biographical in ways that create a direct, emotional response from the viewer. Empathy and the universals of human experience - passion, nostalgia, desire and disgust are inescapable in her work. Misha is herself a ‘displaced’ person, having left Serbia for London in her late teens she still carries within her a ‘stranger’s perspective’ and perceives the world as an outsider, someone ever alert to the non-verbal subtleties of communication. Misha's artistic progenitors include her mentor Martin Kippenberger, Wassily Kandinsky and Phillip Guston as well as contemporary artists Gilbert and George, Keith Tyson, Robert Pruitt...

Misha Milovanovich White from the Inevitable Feeling Series, 2016 Acrylic & oil pastel, ink, enamel and celulose paint on canvas. 72 x 59 cm Hovering between painting, drawing and watercolour sketches, her new work represents a form of personal expression that is less concerned with the impact and novelty of popular culture and more about the quiet uncovering of emotion. Her trademark organic forms are still present though now they are empathetic rather than explosively joyful. The colours are softer, somewhat washed out and hazy, as if half-perceived or remembered. The colour palette and the energy of the mark making reference to the now buried source material -  abstracted Hentai illustrations, Japanese manga-infused depictions of male dominance, rape and power fantasies. The never-satisfied, always distracted state in which this dislocated field of sexual aggression persists stands in for our instantly redundant, surface only culture- transactional, bullying and ephemeral.   Her paintings are sensorially rich and and yet muted, the masses of fleshy intersections and writhing calligraphy feel like they are moving out of the immediate present and floating up out of time.   They are soaked in the in nuances of early modernism- Klee, Miro and Matta. She explores emotive, expressionistic tender spaces in these lyrically rendered conceptual paintings - densely layered works that operate in the enigmatic gaps between rational structure and spontaneity. Misha also echoes Kandinsky and his sensuality of musical movement, evoking his concerns with the spiritual, all emerging naturally from the rich soil she has carefully laid down in her previous work. The language and texture of her materials are important to Misha who prepares her own pigment- paying great attention to form, surface and the moment-to moment physicality of her practice. Misha Milovanovich is a Belgrade-born artist living and working in London. Misha works across several mediums, from sculpture to painting and live art. Characterised by vivid colour, optical movement and energetic visual cadences, Misha's visual work fuses a diverse repertoire of images and forms. She often features discarded shards of consumerism - unloved icons of disposability and careless consumption. Misha's work is often a symphonic abstraction. Her colourful, densely layered works are held in a state of tension between order and chaos, rational structure and spontaneity. She combines depth and surface relief, orchestrating bold contrasts of form, texture and space in her pictures. An intimate colour palette of bodily fluids - red, pink, white, black, yellow and brown - animate the writhing forms and the refracted memories of cartoonish cultural production. A cultural polymath, Misha is constantly engaged in observing society and it’s distortions of desire, lust and attitudes to the body. Traditional techniques have been studied and absorbed and although her work is partly conceptual, it's execution always reflects these hard won technical abilities. Misha's main subject matter is emotion, so naturally her work is highly personal and biographical in ways that create a direct, emotional response from the viewer. Empathy and the universals of human experience - passion, nostalgia, desire and disgust are inescapable in her work. Misha is herself a ‘displaced’ person, having left Serbia for London in her late teens she still carries within her a ‘stranger’s perspective’ and perceives the world as an outsider, someone ever alert to the non-verbal subtleties of communication. Misha's artistic progenitors include her mentor Martin Kippenberger, Wassily Kandinsky and Phillip Guston as well as contemporary artists Gilbert and George, Keith Tyson, Robert Pruitt...

Misha Milovanovich Our Heads Are Round So That Our Thoughts Can Change Directons- Picabia from the Inevitable Feeling Series, 2016 Acrylic & oil pastel, ink, enamel and celulose paint on canvas. 72 x 59 cm Hovering between painting, drawing and watercolour sketches, her new work represents a form of personal expression that is less concerned with the impact and novelty of popular culture and more about the quiet uncovering of emotion. Her trademark organic forms are still present though now they are empathetic rather than explosively joyful. The colours are softer, somewhat washed out and hazy, as if half-perceived or remembered. The colour palette and the energy of the mark making reference to the now buried source material -  abstracted Hentai illustrations, Japanese manga-infused depictions of male dominance, rape and power fantasies. The never-satisfied, always distracted state in which this dislocated field of sexual aggression persists stands in for our instantly redundant, surface only culture- transactional, bullying and ephemeral.   Her paintings are sensorially rich and and yet muted, the masses of fleshy intersections and writhing calligraphy feel like they are moving out of the immediate present and floating up out of time.   They are soaked in the in nuances of early modernism- Klee, Miro and Matta. She explores emotive, expressionistic tender spaces in these lyrically rendered conceptual paintings - densely layered works that operate in the enigmatic gaps between rational structure and spontaneity. Misha also echoes Kandinsky and his sensuality of musical movement, evoking his concerns with the spiritual, all emerging naturally from the rich soil she has carefully laid down in her previous work. The language and texture of her materials are important to Misha who prepares her own pigment- paying great attention to form, surface and the moment-to moment physicality of her practice. Misha Milovanovich is a Belgrade-born artist living and working in London. Misha works across several mediums, from sculpture to painting and live art. Characterised by vivid colour, optical movement and energetic visual cadences, Misha's visual work fuses a diverse repertoire of images and forms. She often features discarded shards of consumerism - unloved icons of disposability and careless consumption. Misha's work is often a symphonic abstraction. Her colourful, densely layered works are held in a state of tension between order and chaos, rational structure and spontaneity. She combines depth and surface relief, orchestrating bold contrasts of form, texture and space in her pictures. An intimate colour palette of bodily fluids - red, pink, white, black, yellow and brown - animate the writhing forms and the refracted memories of cartoonish cultural production. A cultural polymath, Misha is constantly engaged in observing society and it’s distortions of desire, lust and attitudes to the body. Traditional techniques have been studied and absorbed and although her work is partly conceptual, it's execution always reflects these hard won technical abilities. Misha's main subject matter is emotion, so naturally her work is highly personal and biographical in ways that create a direct, emotional response from the viewer. Empathy and the universals of human experience - passion, nostalgia, desire and disgust are inescapable in her work. Misha is herself a ‘displaced’ person, having left Serbia for London in her late teens she still carries within her a ‘stranger’s perspective’ and perceives the world as an outsider, someone ever alert to the non-verbal subtleties of communication. Misha's artistic progenitors include her mentor Martin Kippenberger, Wassily Kandinsky and Phillip Guston as well as contemporary artists Gilbert and George, Keith Tyson, Robert Pruitt...

Misha Milovanovich Pink from the Inevitable Feeling Series, 2016 Acrylic & oil pastel, ink, enamel and celulose paint on canvas. 72 x 59 cm Hovering between painting, drawing and watercolour sketches, her new work represents a form of personal expression that is less concerned with the impact and novelty of popular culture and more about the quiet uncovering of emotion. Her trademark organic forms are still present though now they are empathetic rather than explosively joyful. The colours are softer, somewhat washed out and hazy, as if half-perceived or remembered. The colour palette and the energy of the mark making reference to the now buried source material -  abstracted Hentai illustrations, Japanese manga-infused depictions of male dominance, rape and power fantasies. The never-satisfied, always distracted state in which this dislocated field of sexual aggression persists stands in for our instantly redundant, surface only culture- transactional, bullying and ephemeral.   Her paintings are sensorially rich and and yet muted, the masses of fleshy intersections and writhing calligraphy feel like they are moving out of the immediate present and floating up out of time.   They are soaked in the in nuances of early modernism- Klee, Miro and Matta. She explores emotive, expressionistic tender spaces in these lyrically rendered conceptual paintings - densely layered works that operate in the enigmatic gaps between rational structure and spontaneity. Misha also echoes Kandinsky and his sensuality of musical movement, evoking his concerns with the spiritual, all emerging naturally from the rich soil she has carefully laid down in her previous work. The language and texture of her materials are important to Misha who prepares her own pigment- paying great attention to form, surface and the moment-to moment physicality of her practice. Misha Milovanovich is a Belgrade-born artist living and working in London. Misha works across several mediums, from sculpture to painting and live art. Characterised by vivid colour, optical movement and energetic visual cadences, Misha's visual work fuses a diverse repertoire of images and forms. She often features discarded shards of consumerism - unloved icons of disposability and careless consumption. Misha's work is often a symphonic abstraction. Her colourful, densely layered works are held in a state of tension between order and chaos, rational structure and spontaneity. She combines depth and surface relief, orchestrating bold contrasts of form, texture and space in her pictures. An intimate colour palette of bodily fluids - red, pink, white, black, yellow and brown - animate the writhing forms and the refracted memories of cartoonish cultural production. A cultural polymath, Misha is constantly engaged in observing society and it’s distortions of desire, lust and attitudes to the body. Traditional techniques have been studied and absorbed and although her work is partly conceptual, it's execution always reflects these hard won technical abilities. Misha's main subject matter is emotion, so naturally her work is highly personal and biographical in ways that create a direct, emotional response from the viewer. Empathy and the universals of human experience - passion, nostalgia, desire and disgust are inescapable in her work. Misha is herself a ‘displaced’ person, having left Serbia for London in her late teens she still carries within her a ‘stranger’s perspective’ and perceives the world as an outsider, someone ever alert to the non-verbal subtleties of communication. Misha's artistic progenitors include her mentor Martin Kippenberger, Wassily Kandinsky and Phillip Guston as well as contemporary artists Gilbert and George, Keith Tyson, Robert Pruitt...