Victor Man (Romanian, b. 1974, Transylvania, Romania, based Cluj, Romania) - Fragile, 2005 from Farewell till next Time, Paintings: Oil on Canvas mounted on Wood
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Victor Man (Romanian, b. 1974, Transylvania, Romania, based Cluj, Romania) - Fragile, 2005 from Farewell till next Time, Paintings: Oil on Canvas mounted on Wood

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Marcel SchellekensďźDutch, b.1954ďź
DraaimolenďźCarouselďźÂ 2004ăink on paper 80 x 120 cmă via
Inès Longevial
Risa Mehmet.
The Coral Greenhouse: Jason deCaires Taylorâs Latest Installation is an Underwater Sanctuary for Vulnerable Sea Creatures

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Peter Besley - Couldrey House, Brisbane 2020. Photos Š Rory Gardiner.Â
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Such a lovely painting. How would you interpret this? âSub Rosaâ by @kristinkwanart. This piece was part of a recent show at @nucleusportland.⣠.⣠.⣠.⣠posted on Instagram - https://instagr.am/p/CDibGD1HZB4/
Nunzio Paci
https://www.nunziopaci.it
Scott Albrechtâs âWaiting For Our Eyes To Meetâ at Hashimoto Contemporary.
Currently virtually on view at Hashimoto Contemporary in New York City is artist Scott Albrechtâs solo exhibition, âWaiting for Our Eyes to Meet.â
âWaiting for Our Eyes to Meetâ showcases a continued progression in Albrechtâs work, both in form and medium. Largely informed by typography, his work often deconstructs letterforms with the intent to reconsider the relationship between message and viewer. Many of the works build from a consistent visual language of geometry, which at first, may give the appearance of a pattern but are carefully considered representations of an underlying message. Albrecht offers, âa message isnât about reading, itâs about finding meaning.â These abstracted works â many made up of dozens, sometimes hundreds of individual pieces that are cut, laminated, sanded, painted and re-assembled, often at varying depths â present a dialogue with the viewer and a space to reflect on their meaning and ones own relationship to that idea.
The narratives within Albrechtâs work regularly analyze current social climates, distilling key aspects into a universal vocabulary, intended to create space for the viewer to relate personally and contextually to the work. Scott believes that by doing this, it highlights not only the situation but the commonality and humanity that we share through these connected experiences.
Recalling the works in the exhibition he says, âI began making the work for this exhibition from one perspective but started to see it adapt itself as the months brought new cultural contexts. Initially, I had been referencing a growing cultural divide and my own relationship to that divide, but then the pandemic happened followed by the murder of George Floyd and the subsequent protests. I intentionally allow the narration in my work to speak from a more universal place to allow viewers to bring their own contexts because I believe we all share more than we think. As these events transpired, I watched the work take on new conversations. Ultimately, the main theme and title for this exhibition speak to a divide and longing for common ground or connection, and all of these major events were extensions of that which continued to re-contextualize the work.â
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EXCLUSIVE INTERVIEW // Discover the wildly imaginative creatures of @peca.art. Visit https://ift.tt/1a20IOv today [link in our profile] and learn more about her work, symbolism, creative spirit and so much more in an interview by @marie_larkin.⣠.⣠.⣠.⣠posted on Instagram - https://instagr.am/p/CDcajpBFTjY/

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Ăl se enamorĂł de una mujer muerta.
Aron Wiesenfeld, leaving innocence behind - Figurative Artist
Stunning paintings of butterflies by two Australian teenage sisters, from an era when women had no formal artistic or scientific opportunity, which sparked one of the most heartening triumphs of conservation and rewilding a century after their death. Meet Harriet and Helena Scott.
Andrew Wyeth (American, 1917-2009), Prevailing Wind, 1951. Watercolor and pencil on paper, 54.9 x 75.6 cm.
2020! nough saidâŚ..⣠Amazing painting by @dwiantonoroby.⣠.⣠.⣠.⣠posted on Instagram - https://instagr.am/p/CDYxGTBHhkQ/

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