I use
both abstract painting and photography to express my creativity.
Wendell McRae, Stephen Westfall, Tim Hawkinson, and Donald Baechler take on the construction job — with everything from
abstract painting and photography to machine parts.
Stephen Westfall, Wendell McRae, Tim Hawkinson, and Donald Baechler take on the construction job — with everything from
abstract painting and photography to machine parts.
Donald Baechler, Stephen Westfall, Wendell McRae, and Tim Hawkinson take on the construction job — with everything from
abstract painting and photography to machine parts.
Tim Hawkinson, Stephen Westfall, Wendell McRae, and Donald Baechler take on the construction job — with everything from
abstract painting and photography to machine parts.
Not exact matches
Some of these
paintings,
abstract or monochromatic, dwell comfortably in the language of their medium, but others flirt with
photography and textile pattern printing, perhaps an «oblique» reference to
painting's material connection to textile:
paint and color on canvas or linen.
The artists in Amerika coagulate around textile
and conceptual sculpture,
photography,
painting, installation
and performance to interrogate discursive practices that undertake the body that is formed - objectified -
abstracted.
Over the last twenty years, Liliane Tomasko has created
abstract painting, sculpture
and photography that examines places of domesticity.
His most recent works come in a variety of mediums, including a mix of calligraphic
and abstract paintings, as well as landscape
photography.
In both the lecture
and the workshop, Mazal will discuss his unique artistic process, which incorporates
abstract painting along with digital
photography and technology, monotypes,
and video.
Figuratively, many near -
abstract photographers merge the clarity of
photography and of color - field
painting.
When dealing with an artist as subtle as Arturo Herrera, the manner of interpretation is by nature complex, further complicated by what at first seems like wildly varied
and distinct bodies of work, each adopting the formal affectations of the medium at hand: architectural interventions, collage,
abstract paintings, biomorphic abstractions, hybrid
paintings,
photography, sculpture, mail art.
She is the recipient of numerous awards, including a fellowship from the John Simon Guggenheim Memorial Foundation, a Joan Mitchell Foundation Grant, a Pollock - Krasner Foundation Grant, a New York Foundation for the Arts Fellowship in
Painting, a New York State Council on the Arts Projects Residency Grant, a Yaddo Artists Fellowship, a Buhl Foundation Award for
abstract photography and an Adolph
and Esther Gottlieb Foundation Grant.
In media, he was all over the map:
painting (
abstract and figurative), drawing,
photography, collage, sculpture, film, installation, performance, sound art; he did them all, often messy, counterintuitive combinations.
As with Jutta Koether's
paintings and abstract photography by Eileen Quinlan at Campoli Presti, it shares a sensibility with the Whitney Biennial.
Quogue Gallery co-owner Chester Murray explained that the motivation behind mounting this exhibition was «to review the 14 shows we've had since opening the gallery — principally contemporary
and abstract photography,
paintings and prints — in order to put them in a more global context.»
She explains, «Having run away from seemingly inadequate definitions for
abstract painting, I find myself immersed in a relationship that tracks, exchanges,
and shreds the world of news, front - page
photography, design,
and pictorial memory into a subject-less pictorial mash - up.
She has worked across
photography, film,
and dance, but is best known for her experimental approach to
painting, the medium in which she was trained, stretching its bounds
and assumptions through conceptual
and abstract works.
Flush with an emerging confidence in their medium, photographers such as Harry Callahan
and Aaron Siskind, wrote Hilton, found ways to turn the lens on these complexities: «The kind of campaign that was once waged,
and waged successfully, for
abstract painting is now being waged for «
abstract»
photography.»
Mental maps form the basis of his working method: they push against the edges of the picture plane; his larger
paintings exceed a strictly 2D plane, being more like relief sculptures, employing layer upon layer of collaged forms —
abstract painting, ephemera from travel,
photography and juxtaposed linear structures — to denote the performative aspect of his initial research.
The lines between
photography,
painting and collage are deliberately blurred in my
abstract work; sometimes all three appear in a single piece.
Painting,
photography, construction
and most especially all the hybrids in between conventional genres are pursued in this collage survey, with artistic intentions from the narrative to the minimal
and modernist, landscape, portrait, cultural motif,
abstract expressionism, formal poetics, nostalgia, emotion,
and technical bravado.
Büchler's selection includes Kris Fierens's blurry, washed - out
paintings, monochrome
photography by Pamela Rosenkranz, Ian Rawlinson's ad hoc - looking sculpture, Gregor Hylla's geometric
abstract painting,
and a video work by Maeve Rendle depicting an appropriately unsynchronised piano rehearsal.
James Hyde's work ranges from
paintings on photographic prints to large - scale installations,
photography,
and abstract furniture design.
Rarely seen in print, these works merge the artist's longstanding fascination with the respective languages
and textures of
photography and abstract painting.
The National Portrait Gallery, meanwhile, looks at the origins of art
photography via the work of four celebrated figures of the Victorian era,
and Tate Modern takes things further with Shape of Light, which entwines the histories of
photography and abstract art from the early 20th century to now
and positions work by the likes of Man Ray
and Thomas Ruff against
abstract paintings, sculptures
and installations.
In the 1970s, he concentrated on
photography, returning to
paint in the 1980s, when he produced
abstract works created by chance through chemical reactions between
paint and other products.
It will overlap with the final two months of Gesture: Judith Godwin
and Abstract Expressionism, offering museum visitors an opportunity to further consider the relationship of
abstract photography and painting.
Schooled as an
abstract painter
and self - taught as a representational artist, Fischl mines historical
painting and photography for source material.
His interest in how images are constructed in
painting and its relatives,
photography and the media, continued in subsequent series: the «stripe»
paintings, the «half - tone
and stripe»
paintings;
and most recently, the «
abstract»
paintings, which rely on the play of light over ridges of
paint.
Starting from the early experiments of the beginning of the 20th century to recent digital innovations, the show will examine the history of
abstract photography side - by - side with seminal
paintings and sculptures.
Chapter 1: Things Must be Pulverized:
Abstract Expressionism Charts the move from figurative to
abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting as the dominant style of
painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded
Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting: Informel in Europe
and Beyond Meanwhile in Europe:
abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or
Abstract Expressionism (1950s
and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-
Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism
and Conceptual
painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting in the USA (1950s
and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How
painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting survives against growth of mass visual culture:
photography and television - if you can't beat them, join them (1960s
and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism
and its Discontents The continuation of figuration
and expressionism in the 1970s
and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-
Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
Painting Part II: After Pop A new era in which figurative
and abstract exist side by side rather than polar opposites plus
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc
painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use
paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social
and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
And when he's gazed into it in amassing his private collection, he's seen photography, contemporary Chinese art, abstract painting and other art for
And when he's gazed into it in amassing his private collection, he's seen
photography, contemporary Chinese art,
abstract painting and other art for
and other art forms.
Henri Matisse
painting Bathers by a River, May 13, 1913 Photograph by Alvin Langdon Coburn Courtesy of George Eastman House, International Museum of
Photography and Film, Rochester July 18 — October 11, 2010 In the time between Henri Matisse's (1869 — 1954) return from Morocco in 1913
and his departure for Nice in 1917, the artist produced some of the most demanding, experimental,
and enigmatic works of his career —
paintings that are
abstracted and rigorously purged of descriptive -LSB-...]
The work is at the cutting edge of contemporary, ranging from
photography to
abstract painting and highlights some of the names from the established to the up
and coming.
One can see it in a revival of
abstract painting that is not all that
abstract, as well as wonderful multimedia
and photography projects.
Written language is central to Khan's
painting, sculpture,
and photography — from his stamp
paintings, with their
abstract forms built up from densely printed words
and phrases, to the vast inscribed tablets that constitute his monument for the UAE Memorial Park, inaugurated in 2016.
Two books of my
photography have been published: «Ribbons Of Time: The Dalquest Research Site,» in the Big Bend area of Texas;
and «The Black Place: Two Seasons,» focused on the area in New Mexico where Georgia O'Keeffe
painted and produced one of her most beautiful
abstract paintings called «Black Place II».
With its bird's - eye view of smooth, swelling hills
and nearly
abstract banded squares of green grass
and plowed earth, this
painting and the few others like it can pull you equally toward Walt Disney, Josef Albers,
photography and folk art.
This refusal to cohere to conventional notions of
abstract painting reflects the breadth of Cain's influences — including
abstract expressionism,
photography, the artist Ana Mendieta,
and ceramics —
and her desire to dismantle the male - dominated history
and traditions of
painting.
The gallery was founded in Los Angeles by Eva Maria Daniels
and Alexandra Canosa in 2012 with a commitment to work with diverse, intellectually driven
and unconventional artists focused on
abstract work,
paintings, mixed media
and photography.
Shane Campbell Gallery exhibits emerging
and mid-career contemporary artists specializing in
painting, drawing, sculpture,
photography and abstract and conceptual art.
Noemi Manser's colorful
abstract work brings edge
and mystery
and Nichole Washington exposes culture
and truth with her
photography and hand
painted gouache details.
Chris Succo is best known for his
abstract painting but works in a wide range of media, including sculpture
and photography.
Seidl maintains dual
and equally intense practices in
painting and photography, essentially exploring the same formal concerns, creating work in both mediums that draws us into her world, encouraging contemplation
and challenging our perception of the often thin line between reality
and abstracted memory.
They may
paint with an
abstract art style while simultaneously making Minimalist sculpture, shooting hyperrealist videos,
and engaging in Expressionistic
photography on social media.
Media range from
painting, drawing
and collage to
photography, video
and sculpture,
and content ranges from
abstract to figurative, but all share a sensibility that merges concept, image
and mark - making.
Letzelter's practice encompasses works on paper,
paintings,
and photography, with a focus on
abstracted landscapes influenced by the confluence of industry
and natural processes on man - made sites.
Fusing landscape
photography with
painted shapes
and abstract forms, the artist explores themes of visual perception
and reproduction, all the while challenging the boundaries of
painting as a medium.
The works on display in West draw from a juxtaposition of
abstract painting and landscape
photography, a pairing that proves to be simultaneously idiosyncratic
and highly intuitive.