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Born in 1975 and raised in Quimper, Brittany, Nathalie Chikhi lives and works in Orlando, Florida. She earned her Bachelor in Visual Communication from Le Paraclet, Quimper in 1996 and a degree in Interactive Multimedia from Les Gobelins, Paris in 1999. She has shown at many venues across the USA since 2006, including the Bakehouse Art Complex in Miami (2008), The MassMoca in North Adams, MA (2011), the Museum for Women Artists in Deland, FL (2011), UCF art gallery in Orlando (2012) and FSU gallery of Fine Art in Tallahassee (2012). She held her first solo show at Twelve 21, Orlando in Sept 2011. Her works 'Homage to Donald Judd", sculpture and painting were exhibited at Aqua during Art Basel Miami Beach, 2011. One of her painting, OPAD #1, was selected for the Nurture Art Annual Benefit 2012, in Brooklyn NY. From March 2 to April 20, 2013, she had a solo exhibition, titled "HUE" at Alt Space Gallery, with the Atlantic Center for the Arts, New Smyrna Beach, FL. During summer 2013, she launched a necklaces collection called STIXELS. Last April-May 2014, she did a site specific installation at ArtFields, Lake City SC. She will have a group exhibition in Tampa, in Oct-September 2014 and a mobile installation in March 2015 with the Maitland Art Center.
One of the largest tribal communities in South Asia, the Gonds, are mainly found in Madhya Pradesh and its surrounding States. Gond paintings which is mostly "two-dimensional" in style cover numerous themes such asÂ folk stories, religion, nature etc. Their artÂ may be bursting with flamboyant hues or more controlled, in the simple sophistication use of black and white. It is interesting to observe that Gond paintings bear a remarkable likeness to Australian aboriginal art as both forms use dots or lines as fillers. The artist Durga Bai has been transforming the communities ritual performing arts into a new tradition of figurative and narrative visual art: using a variety of modern media including acrylic paintings on canvas ink drawings on paper and has created depictions of the tribal natural and mythological worlds and oral histories.
$ (as of June 5, 2017, 11:38 pm)750.00 (as of June 5, 2017, 11:38 pm)
From the series "Code", oil and graphite pencil on paper, 30 x 30 cm. A map is an imprint, a sign of man in the landscape. An alien intelligence, observing our cities from the great distances of the space, could interpret them as the characters of an alphabet, sort of messages, a code of signs, each one different from the other, each with its own meaning and its own syntax. This hypothetical alien presence may not even realize that these cities have a purpose and a function, which are the product of the way we have adapted to live on this planet, but it could engage in an attempt to interpret this unknown language, identifying the alphabet and associating to each character a precise meaning. We will still be able to understand and share this new meanings, or will they have lost any sense for us?
A meticulously detailed composition showing swirling bands of color and suggestions of thorns in the foreground, with complex organic forms being visible beyond these shapes, creating a depth of perspective. The symbolism being the trials and tribulations of the human condition, and the strength we display in over coming them.
$ (as of June 5, 2017, 11:38 pm)6,600.00 (as of June 5, 2017, 11:38 pm)
In the artwork of emerging Chinese artist, James Chen-Feng Kao, he is interested in the combination of abstraction and "characters." He creates graphic characters and draws them using ink strokes inspired by Chinese calligraphy. He has created a pattern titled "Skullscape," which is a tessellation of geometric color shapes where each shape is an abstraction of the human skull; the top part of each shape is wider than the bottom part, and the shape is symmetrical. The "Skullscape" pattern is painted into his ink drawings as well as onto character sculptures. The abstract ink strokes and acylic color pattern add a layer of encoding, which draws the audience in. Jame's art lies in the moment of interaction between the viewers and the work: when the audience deciphers and realizes what they see is not what they expected.
$ (as of June 5, 2017, 7:56 am)600.00 (as of June 5, 2017, 7:56 am)
Subject M. releases the associated negative belief system holding her wounds and pain in place, letting it dissolve and feeling the clarity of the moment. Personality-level understanding is achieved, spurred by awareness of the past life's pain which has been repeated in many incarnations. Ignited by knowledge, M. lets go of the karma in the moment and sees into a future without the habitual emotional pitfalls. Her lips are ajar, expectant as a lover's in anticipation of a kiss. Her eyes are far-reaching, projecting into the Divine. Attention is given to rendering the eyes and the lips in an effort to capture the viewer. The faces morphs and oozes out of the surface. Just as one longs for release and clarity, so the portrait comes off the page, leaning into the viewer, moving outward and toward the infinite. The eyes and lips spill out, exacerbating the feeling of yearning. A high level of detail and rendering is accomplished using the best quality charcoal and high grade watercolor paper by Arches. The paper allows for ultra fine texturing and high fidelity in the rendition of skin, hair, and light. Clarity is unmounted and will require a frame in order to hang.