Tag Archives: painting

Glistening Oil Paintings of Minerals and Crystals by Carly Waito 

Amethyst Mountain. Oil on panel, 14″ x 11″

In these small oil paintings, Toronto-based artist Carly Waito depicts the most minute details of minerals and crystals as they sparkle and glimmer. Waito seems to have a profound understanding of how light affects an object and gives each work an amazing sense of depth and focus. From her artist statement:

As a painter, Waito has continued to pursue this inspiration, with a focus towards geology, geometry, light, and a sense of wonder and curiosity. These themes are uniquely encompassed by the tiny mineral specimens which have become her particular obsession. With each finely detailed painting, Waito focuses the eye on a specimen’s particular qualities, showing the beauty and magic that is present even in nature’s tiniest objects, if one looks closely enough and with a curious mind.

Collected here are a number of paintings spanning 2009-2015, but you can see many more through Narwhal Gallery. (via The Jealous Curator)

Dioptase II 8 x 10″. Oil on panel. 2014

Carly Waito Rhodochrosite II 6 x 8

Tangerine Quartz, 8 x 8in. Oil on panel. 2014

Amethyst VIII, 2015. 8 x 10 in. Oil on wood panel.

Dioptase. 10 x 9 in. Oil on Masonite 2011

Vesuvianite. 8.5 x 11 in. Oil on Masonite 2011

Amethyst Mountain III . 16 x 13″. Oil on panel. 2014

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Monochromatic Portraits Obscured by Colorful Abstract Markings by Guim Tió Zarraluki 

Barcelona-based artist Guim Tió Zarraluki paints pieces tied to memory and how it is obscured over time, covering the faces of his subjects in bright swaths of oil paint. His research as of late has brought him to topics such as how things slip into oblivion or are saved forever on our technological devices, areas which are abstractly displayed within his work.

In his latest series No Name Project, the individuals have minimal lines that mark their faces’, while in Now, Remember swirls and concentric circles take over the entirety of each visage. You can see more of his portraits from past series on his Instagram and Facebook.

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Colossal x Josh Keyes Print Release: I’ll Melt With You 

We are honored to have worked with Portland-based painter Josh Keyes on an exclusive release of the print edition of his 2016 painting, “I’ll Melt With You,” available now in The Colossal Shop.

Keyes’ ability to paint realistic renderings of our world becomes uncanny when he wields his brush in the name of environmental issues. Animals, rocket ships, and icebergs fall prey to graffiti, leaving the viewer uncomfortably wondering whether this is a painting of the future or a photograph of the present.

“I’ll Melt With You,” originally painted in acrylic on a 12 x 16 inch panel is translated to print form in its full dimensions, with an additional white border for convenient framing, for a final size of 16 x 20 inches. Printed by our friends at ioLabs in Rhode Island on Epson Hot Press Bright 300 gsm archival paper and available exclusively in The Colossal Shop.

New Mixed Media Landscapes and Still Lifes That Merge Photography and Impressionism by Stev’nn Hall 

Stev’nn Hall (previously) blends photography and painting together in an impressionistic style, often focusing his works on the rural landscapes of his Canadian home, or images of flowers he takes in his studio. The pieces are built from images shot with a 35mm camera, and feature gestures on the surface in the mediums of acrylic, ink, and pastel. These markings serve as both complements to the landscapes and abstract bits of scrawl, simultaneously pushing the underlying photograph to appear more like a painting, and Hall’s painted additions to seem like photographic errors. You can see more of his mixed media works on Tumblr and Instagram.

Image by Alejandro Collados Nunez

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Abstracted Alterations to The New York Times’ Front Pages by Fred Tomaselli 

“Sunday, October 4, 2009” (2016) Acrylic and ink on paper. 72 1/4 x 43 in. (183.5 x 109.2 cm) Photo © White Cube (Max Yawney)

Since 2005, artist Fred Tomaselli has been altering the front page of The New York Times, highlighting the day’s catastrophes and nightmares with layered collages and detailed paintings. The series, simply titled The Times, focuses on the tactility of newsprint in a hyper-digital society, as well as the absurdity our contemporary political climate.

The displayed works are large-scale reproductions of the paper’s front page, each titled based on the date of which the original newspaper was published. Tomaselli views these artistic interventions as abstract editorials, just another decision made in the production of the news and its byproducts.

Tomaselli’s works will be featured in the solo exhibition Paper at White Cube gallery in London opening March 17. The exhibition will continue through May 13, 2017. (via Creative Boom)

“Wednesday, July 23, 2014” (2016), acrylic and photo collage over archival inkjet print, 43 x 47 1/2 in. (109.2 x 120.7 cm) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Wednesday, March 4, 2015” (2016), acrylic, photo collage and leaves over archival inkjet print, 50 3/4 x 81 3/4 in. (128.9 x 207.6 cm) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Thursday, May 12, 2011” (2016), acrylic over archival digital print, 43 x 54 in. (109.2 x 137.2 cm), 56 x 67 x 2 in. (142.2 x 170.2 x 5.1 cm) (framed) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Thursday, Feb. 27, 2014” (2016), acrylic over archival inkjet print, 43 x 59 3/4 in. (109.2 x 151.8 cm) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Thursday, April 2, 2015” (2016), acrylic over archival inkjet print, 72 1/4 x 43 in. (183.5 x 109.2 cm) © Fred Tomaselli. Photo © White Cube (Max Yawney)

“Bloom (Dec. 17)” (2017), acrylic and ink on paper, 44 x 65 1/2 in. (111.8 x 166.4 cm), 52 3/4 x 74 1/4 x 2 1/2 in. (134 x 188.6 x 6.4 cm) (framed) © Fred Tomaselli. Photo © White Cube (Max Yawney)

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Pejac’s Newest Series “Redemption” Utilizes Pressed Wood as Canvas 

Spanish street artist Pejac‘s work (previously) is known for its subtle interaction with urban environments, small interruptions to everyday buildings like bird-shaped cracks created in an abandoned power plant’s windows, or trompe l’oeil paintings scattered through the streets of the district of Uskudar.

Pejac’s newest series brings an urban resource into the studio rather than having the artist travel out. Utilizing pressed wood as a pseduo-canvas, Pejac draws with black ink and pencil to produce soft deer, birds, and flowers in the works’ foregrounds. These natural elements showcase the wooden medium’s origin, highlighting how natural environments are continuously being chopped down and constructed over.

“The beauty of the pressed wood seems to hide the arrogance of man in its relation with nature,” said Pejac. “These panels have some sort of aesthetic warmth but at the same time a sense of devastation, making it very contradictory, which directly refers to my way of understanding art. Expressing myself on thousands of small pieces of wood feels like ‘tattooing’ on the stripped skins of trees. Each drawing in this Redemption series are tribute to nature. Any other subject would have been frivolous.”

You can see Pejac’s other series posted on his website. (via Juxtapoz)

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