Stamford / Westport - Art

This original abstract watercolor painting by Nealy Hauschildt features a dark blue palette and washy layers of paint. "In this deep blue piece," the ...

This contemporary seascape painting by S.C. Aldo is made with acrylic paint on Arches paper. It captures an abstracted view of the ocean and san...

This original coastal oil painting on linen by John Harris captures a highly detailed view of rolling ocean waves crashing near a shoreline under ...

This contemporary seascape painting by S.C. Aldo is made with acrylic paint on Arches paper. It depicts a lightly abstracted coastal scene with ...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper and features a cool, muted palette and light texture. The painting itself is 13" x 22" and measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower left-hand corner of the painting and is framed in a black frame with an acid-free mat. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

This hand-woven fiber art wall hanging by Dolores Tema is made with cotton and Alpaca and Merino wool. It has a deep, colorful palette with layers of w...

This abstract floral encaustic painting by artist Linda Bigness features a cool blue palette with metallic gold leaf accents. The painting is made with e...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a dark palette, with dark charcoal black tones contrasted by yellow and red accents throughout, and large brush strokes. The painting itself is 16" x 54" and measures 17" x 56" x 2" framed. The paper is mounted on board, framed in a black frame under glass. It is not signed by the artist, but has been authenticated by his estate, and is stamped with the estate seal on the back of the painting, and on the back of the frame. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

This small scale painting by Carol Young is made with acrylic paint on board. It captures a lilac-colored house with a dark roof, warm grass and a stairway in the foreground, which c...

This abstract portrait painting by Ned Martin partially captures a nude female figure laying on the ground next to a black and white cat. The ground is abstracted in the artist's sig...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on canvas. It features a muted, earth-toned palette with contrasting warm yellow, orange, and red accents throughout. The painting is framed in a floater frame with gold face and black sides. It is 22" x 36" and measures 24" x 38" x 2" framed. This painting is not signed by the artist, but has been authenticated by his estate. It is stamped with the estate seal on the back of the painting, and on the back of the frame. Ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

Liz Barber's organic abstract paintings are layered bursts of energy inspired by nature’s movement. Forms and lines fall into a sea of emotion. Shapes and reflections drift into volumetric configurations. She pours colors onto the canvas and watches what happens. Intuitively, she then edits. Barber uses a form of mixed media which allows for more creative freedom and gives the materials a voice. This painting makes a beautiful pair with the Liz Barber painting, "Magnolia 2...

This abstract diptych by Teodora Guererra is comprised of two gallery wrapped canvases, 30" x 30" each. They feature a warm grey and white palette, wi...

This abstract painting by Tony Iadicicco is made with oil paint on canvas. It features a warm umber palette with soft blended color forming an abstract ...

Christopher Jeffries unique style and distinct designs reflect the hand of a dedicated, passionate and master craftsman. Through extensive interna...

This abstract painting by Kelly Rossetti is made with acrylic on cold press Fabriano paper, and is professionally framed in a white box frame. It features a light, muted palette and ...

This large abstract contemporary statement painting by Roger Mudre features many light circle shapes, layered over one another in a concentric fashion and a cool blue and silver pale...

This glazed porcelain vessel by Jon Puzzuoli features a dark green and blue palette with a crystalline glaze and a ring of 18K gold luster along the lip. The artist's stamp is located at the base of the vessel. Crystalline glazes are special ceramic glazes in which zinc-silicate crystals grow inside the glaze while it is still very hot. The crystals begin as microscopic seeds in the glaze, which form in random numbers and locations. When the kiln is cooled to the proper temperature, crystals start to grow. In order for crystals to grow, the glaze must be very fluid. Much of the glaze runs off the vessel during the firing into a catch basin...

This hand-woven fiber art wall hanging by Dolores Tema is made with cotton and Alpaca and Merino wool. It features layers of woven yarn in varying colo...

This beautiful blue painting is by René Romero Schuler. Her expressionistic paintings depict delicate female figures that she paints using a dry-brushed, minimalist hand, leaving her...

This contemporary seascape painting by S.C. Aldo is made with acrylic paint on Arches paper. It depicts a lightly abstracted coastal sce...

This crystalline glazed porcelain vessel by Jon Puzzuoli features an earthy green and sand-toned palette and a dark, narrow neck. The crystalline glaze over the surface creates the aesthetic of green "crystals" which form along the the surface of the piece. The artist's stamp can be found at the base of the vessel. Crystalline glazes are special ceramic glazes in which zinc-silicate crystals grow inside the glaze while it is still very hot. The crystals begin as microscopic seeds in the glaze, which form in random numbers and locations. When the kiln is cooled to the proper temperature, crystals start to grow. In order for crystals to grow, the glaze must be very fluid. Much of the glaze runs off the vessel during the firing into a catch basin...

This original nautical illustration by Laerta Premto is made with watercolor and ink on paper. It captures small boats of varying colors docked together in a marina, with one sailer ...

This hand-woven fiber art wall hanging by Dolores Tema is made with light white and cream-toned cotton and Alpaca and Merino wool. The weaving hangs from a clear acrylic rod, suspend...

This glazed porcelain vessel by Jon Puzzuoli features a warm earth-toned palette with a crystalline glaze which creates the aesthetic of light blue "crystals" over the surface of the piece. It has a wide, curved, dark umber-toned neck. The artist's stamp is located at the base of the vessel. Crystalline glazes are special ceramic glazes in which zinc-silicate crystals grow inside the glaze while it is still very hot. The crystals begin as microscopic seeds in the glaze, which form in random numbers and locations. When the kiln is cooled to the proper temperature, crystals start to grow. In order for crystals to grow, the glaze must be very fluid. Much of the glaze runs off the vessel during the firing into a catch basin...

This hand-woven fiber art wall hanging by Dolores Tema is made with cotton and Alpaca and Merino wool. It has a warm, muted palette with layers of wove...

This hand-woven fiber art wall hanging by Dolores Tema is made with cotton and Alpaca and Merino wool. It has a deep, earthy palette with layers of wov...

This contemporary fine art mirror by Alina B is created using mixed media on a mirror base, which creates a reflective, iridescent, and metallic ...

This small abstract collage painting by Deborah T. Colter is made with mixed media on panel. It features found paper and paint, with subtle text elements, texture, geometric shapes, ...

Liz Barber's organic abstract paintings are layered bursts of energy inspired by nature’s movement. Forms and lines fall into a sea of emotion. Shapes and reflections drift into volumetric configurations. She pours colors onto the canvas and watches what happens. Intuitively, she then edits. Barber uses a form of mixed media which allows for more creative freedom and gives the materials a voice. This painting makes a beautiful pair with the Liz Barber painting, "Magnolia 1." The most common reoccurring theme in Barber’s work is the ocean or natural elements and forms. The shapes serve as anchors for the mind to stop and reflect upon. They can be ambiguous or recognizable forms based on what the viewer brings to the piece. Barber leans towards distinctive color palettes at certain times of the year as the seasons change. They are either subtle or intense color interaction...

This muted minimalist is by Maura Segal. Her Mid Century Modern inspired work is abstract and multi-layered. It is made with papers and acrylic paint. She is deeply inspired by the ...

Paul Shakespear’s minimalist works constantly explore the material properties of paint. This painting is beautifully surfaced. The artist strives to achieve translucence, depth or even a stony surface. The work has no narrative. It has some mark making, but it’s subservient to the tactile quality of the painting’s surface. It’s all about painting as object. He applies close to forty layers of think acrylic glazes that are brushed, troweled and rubbed on. The final layer is often an equisite highly polished surface. The artist compares painting to making music, an activity beyond words, a reaching for the emotional and unconscious world. His work has been exhibited in the U.S., Europe and South America. He is in numerous collections, including Addison Gallery of American Art; Ann & Graham Gund Colleciton; Fidelity Investments; University of San Diego; Berkshire Partners and De Cordova Museum. Paul Shakespear lives and works in Cambridge, Massachusetts. A native of Buenos Aires, Argentina, he was educated at Boston College...

This contemporary seascape painting by S.C. Aldo is made with acrylic paint on Arches paper. It has a vertical format, and features a co...

This ceramic vessel by Jon Puzzuoli is made with crystalline glazed porcelain and 18K gold luster. It has a light blue palette with white "crystals" formed on the surface of the piece, as well as a gold accent at the base of it's wide, curved neck. The artist's stamp can be found at the base of the vessel. Crystalline glazes are special ceramic glazes in which zinc-silicate crystals grow inside the glaze while it is still very hot. The crystals begin as microscopic seeds in the glaze, which form in random numbers and locations. When the kiln is cooled to the proper temperature, crystals start to grow. In order for crystals to grow, the glaze must be very fluid. Much of the glaze runs off the vessel during the firing into a catch basin...

This abstract figural painting by Michele Poirier-Mozzone features a bright blue palette with a contrasting pink accent. The artist captures ...

Paul Shakespear’s minimalist works constantly explore the material properties of paint. This painting is beautifully surfaced. The artist strives to achieve translucence, depth or even a stony surface. The work has no narrative. It has some mark making, but it’s subservient to the tactile quality of the painting’s surface. It’s all about painting as object. He applies close to forty layers of think acrylic glazes that are brushed, troweled and rubbed on. The final layer is often an equisite highly polished surface. The artist compares painting to making music, an activity beyond words, a reaching for the emotional and unconscious world. His work has been exhibited in the U.S., Europe and South America. He is in numerous collections, including Addison Gallery of American Art; Ann & Graham Gund Colleciton; Fidelity Investments; University of San Diego; Berkshire Partners and De Cordova Museum. Paul Shakespear lives and works in Cambridge, Massachusetts. A native of Buenos Aires, Argentina, he was educated at Boston College...

This abstract sculpture by Joe Sorge is made with steel and black dye. A single strip of steel curves up from a circular base like a ribbon, curling at the top twice around. The sculpture casts intricate and unique shadows on its surrounding environment. The white pedestal pictured is not included. Connecticut-based sculptor Joe Sorge studied at the School of Visual Art (SVA) in New York City. While Joe's body of work is most often made with stainless steel which he sometimes dyes to give the forms bold, solid colors, he also experiments with stone carving, genesa crystals, tiger eye alabaster and others. He works with a variety of colors, finishes, and textures, to create the final piece. Joe's sculptures express the fluidity and tension inherent in the material he uses. His work draws on a modernist vocabulary to create abstract, often whimsical objects...

This abstract landscape oil painting by Ken Elliott features a warm, vibrant palette and captures a landscape with the sun just along the horizon. The painting has an impressionistic...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless space we occupy when we are young. She creates lively and childlike characters, finding inspiration in the works of early Italian Renaissance masters such as Fra Angelico. Wilson graduated from Wellesley College in 1991, and pursued her education in Florence. She received her MFA at New York Academy of Art, and later worked as a painting assistant to Jeff Koons for two years. This current series employs the toile wallpaper samples that the artist had lying around her house during lockdown as a backdrop for ambiguous and complicated feelings toward quarantine and domestic confinement. In this work, she is hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contributed to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represented a coincidental parallel with the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. Her colorful inscriptions, some original, some appropriated, layer in our contemporary lifestyle, our modern methods of connectivity as well as our high-tech world. The punky playfulness of the neon and fluorescents contrasts with the backdrop of Fragonard-esque imagery and hopes to delivery her messages of love and connection, awareness and newness, hope and emotions, as well as the occasional glossily veiled hostility expressed in certain so-called “love” declarations. The phrases evolved from a previous series addressing the Me Too movement...

This abstracted floral painting by Christine Averill-Green is made with oil paint and gouache on gallery-wrapped canvas. It features a light, pastel palette, with varying green and pink tones applied in light, almost washy layers. The painting is wired and ready to hang. "A play on the shapes in nature; how they change and flow," the artist says of this piece. "Ambiguous forms set against a symmetrical background. I am in awe of the tremendous energy that I see everywhere in the world. I tried to celebrate that in this painting." Averill-Green has been exhibiting her artwork in galleries and museums in Upstate New York for over 40 years. She received her B.A. in Art and an M.S. in Art Education. Artists such as Richard Diebenkorn, Euan Eglow, Antonio Lopez Garcia, and her teachers Catherine Kehoe...

This abstract painting by Roger Mudre is made with acrylic paint over mica powder on cradled birch panel. It features a light blue and silver palette, with the light outlines of circ...

This contemporary landscape painting by Carol Young captures a rural scene with a bright, contrasting palette. A barn sits in an orange field, with a line of red foliage behind it. O...

This abstract figural painting by Michele Poirier-Mozzone captures two children wearing brightly colored bathing suits, standing on pool steps from a viewpoint beneath the surface of...

This is pair of paintings is by Maura Segal. Her Mid Century Modern inspired work is abstract and multi-layered. It is made with papers and acrylic paint. She is deeply inspired by ...

This raku ceramic vessel sculpture by Jon Puzzuoli is made with glazed porcelain. The base of the body is a deep umber color with at texture and matte finish, while the top portion i...

This abstract painting by Roger Mudre is made with acrylic paint over mica powder and cradled birch panel. Lightly translucent concentric circles overlap throughout the composition, ...

This large beautifully colored abstract painting is by Brooklyn based artist, Carolanna Parlato. Carolanna Parlato received her MFA from the San Francisco Art Institute. She has exhibited in numerous museums, galleries and venues such as the Drawing Center (NYC) Art in General (NYC), White Columns (NYC), Hunterdon Art Museum (New Jersey), the Brooklyn Museum, BRIC, the Dedalus Foundation Gallery at Industry City...

This minimalist blue 3D wall piece is by Barry Katz. He creates pieces that allude to the artist looking into a mirror. And in particular, one which reflect...

This large beautifully colored abstract painting is by Brooklyn based artist, Carolanna Parlato. Carolanna Parlato received her MFA from the San Francisco Art Institute. She has exhibited in numerous museums, galleries and venues such as the Drawing Center (NYC) Art in General (NYC), White Columns (NYC), Hunterdon Art Museum (New Jersey), the Brooklyn Museum, BRIC, the Dedalus Foundation Gallery at Industry City...

René Romero Schuler’s expressionistic paintings depict delicate female figures that she paints using a dry-brushed, minimalist hand, leaving her subjects mostly featureless but nonet...

This figural painting by Michele Poirier-Mozzone features a cool palette and captures a girl wearing a white bikini swimsuit swimming upward toward the surface of water. She blows bu...

This beautifully colored abstract work on paper is by Brooklyn based artist, Carolanna Parlato. Carolanna Parlato received her MFA from the San Francisco Art Institute. She has exhibited in numerous museums, galleries and venues such as the Drawing Center (NYC) Art in General (NYC), White Columns (NYC), Hunterdon Art Museum (New Jersey), the Brooklyn Museum, BRIC, the Dedalus Foundation Gallery at Industry City...

Liz Barber's organic abstract paintings are layered bursts of energy inspired by nature’s movement. Forms and lines fall into a sea of emotion. Shapes and reflections drift into volumetric configurations. She pours colors onto the canvas and watches what happens. Intuitively, she then edits. Barber uses a form of mixed media which allows for more creative freedom and gives the materials a voice. The most common reoccurring theme in Barber’s work is the ocean or natural elements and forms. The shapes serve as anchors for the mind to stop and reflect upon. They can be ambiguous or recognizable forms based on what the viewer brings to the piece. Barber leans towards distinctive color palettes at certain times of the year as the seasons change. They are either subtle or intense color interaction...

Brazilian artist, Clara Fialho, is based in New York. Her abstract work with bright and exuberant colors is inspired by her Latin heritage. She received her BFA from the prestigious...

This glazed porcelain vessel by Jon Puzzuoli features blue, cream and white palette. The crystalline glaze applied over the ceramic creates small, organic, crystal-like elements in t...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless space we occupy when we are young. She creates lively and childlike characters, finding inspiration in the works of early Italian Renaissance masters such as Fra Angelico. Wilson graduated from Wellesley College in 1991, and pursued her education in Florence. She received her MFA at New York Academy of Art, and later worked as a painting assistant to Jeff Koons for two years. This current series employs the toile wallpaper samples that the artist had lying around her house during lockdown as a backdrop for ambiguous and complicated feelings toward quarantine and domestic confinement. In this work, she is hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contributed to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represented a coincidental parallel with the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. Her colorful inscriptions, some original, some appropriated, layer in our contemporary lifestyle, our modern methods of connectivity as well as our high-tech world. The punky playfulness of the neon and fluorescents contrasts with the backdrop of Fragonard-esque imagery and hopes to delivery her messages of love and connection, awareness and newness, hope and emotions, as well as the occasional glossily veiled hostility expressed in certain so-called “love” declarations. The phrases evolved from a previous series addressing the Me Too movement...

This beautifully colored abstract work on paper is by Brooklyn based artist, Carolanna Parlato. Carolanna Parlato received her MFA from the San Francisco Art Institute. She has exhibited in numerous museums, galleries and venues such as the Drawing Center (NYC) Art in General (NYC), White Columns (NYC), Hunterdon Art Museum (New Jersey), the Brooklyn Museum, BRIC, the Dedalus Foundation Gallery at Industry City...

This Modern painting by Abstract Expressionist Stanley Bate was made with oil on canvas circa 1960. It features a cool blue and grey palette along the perimeter, with warmer muted gr...