«The work of Pauline Smith is centered on making paintings that originate from a personal experience of place, space, scene, and visual event, mediating a diverse range of simultaneous sensations. The paintings become improvised unfoldings of shifting possibility, where the sensory experience is the subject – how something is as opposed to what it is. The translation into paint of these often conflicting stimuli is the key question that the artist returns to in her creative practice.
Pauline Smith also works in a variety of other media that include sound, music, and performance.»

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«Tony Feher (1956 – June 24, 2016) was an American sculptor.
Feher's sculptural installations—part hobo altar, part curio cabinet, part TSA contraband table—often belie a nuanced understanding of the emotional power of the quotidian object, while displaying, at times, a quality of manic ranging.[4] His signature material, the brightly colored plastic beverage container, found its way into minimalist compositions as well as exuberant displays of three dimensional abstraction. His pieces offer quiet encounters, suggesting the ways an individual might invest discarded bits of flotsam—vacant consumer packaging, toys and novelties—with deep personal meaning.[5] Feher's work was said to be refreshingly direct and permissive; he wasn't overly concerned with its representational character or intellectual ambition. Critic Wayne Koestenbaum stated that ....»

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«Dominick Di Meo (b. 1927, Niagara Falls, NY) spent some of his childhood in a polio ward, which gave him a uniquely hellish reservoir of images to draw on as a young Monster.Early personages were painted in swirls of poured enamel, and experimenting with materials was a sacred part of art making to Di Meo; frottage, assemblage, bronze, and plastic wood were important tools and techniques.
Dismayed by the fact that Di Meo had never visited his ancestral lands, Leon Golub organized a group of collectors to pitch in and send him to Italy in 1961–63.
“Tàpies knocked me out with his thick paint and vinyl,” says Di Meo. “Redon was a big influence, as were the American primitives, like Morris Hirshfield, as well as Eldzier Cortor and Julio de Diego, two earlier Chicagoans who used areas of relief in their paintings.”

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«Philip Jean Hyde (1921-2006)
Born in San Francisco in 1921, Philip Hyde was a pioneer of the West Coast landscape tradition, he made his first back country fine art landscape photograph in 1942. His photographs helped protect such national treasures as the Grand Canyon, Dinosaur National Monument, Denali, Tongass National Forest, Canyonlands, the Coast Redwoods, Point Reyes, King’s Canyon, the North Cascades, Oregon Cascades, High Sierra Wilderness, Big Sur, the Wind River Range, Islands off Puerto Rico and many others. Philip Hyde trained under Ansel Adams, Edward Weston, Minor White, Imogen Cunningham, Dorothea Lange, Lisette Model and other definers of the medium at the California School of Fine Arts, now the San Francisco Art Institute. Because of the historical significance of his work, a common misconception is that Philip Hyde was a photographer of a bygone era. In reality, he photographed for 58 years until he was 79 years old, into the new millennium.»

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Stanley Boxer (1926-May 8, 2000) was an American artist best known for thickly painted abstract works of art. He was also an accomplished sculptor and printmaker.
Boxer was born in New York City, and began his formal education after World War II, when he left the Navy and studied at the Art Students League of New York. He drew, painted, made prints, and sculpted. His work was recognized by art critic Clement Greenberg, who categorized him as a color field painter, a designation which Boxer rejected. Art critic Grace Glueck wrote «Never part of a movement or trend, though obviously steeped in the language of Modernism, the abstract painter Stanley Boxer was a superb manipulator of surfaces, intensely bonding texture and color.»

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Ernst Wilhelm Nay was a German painter known for his association with the Art Informel movement and post-World War II artists such as Karel Appel, Jean Dubuffet, and Alberto Burri. Despite working exclusively in abstraction, Nay’s distinctive Expressionistic use of color and textile-like patterning show the influence of representational painters like Ernst Ludwig Kirchner and the Henri Matisse. Born on June 1, 1911 in Berlin, Germany, he went on to study under Karl Hofer at the Berlin Art Academy. Nay was on track for a successful career in Germany, until the Nazi regime labeled his work as Degenerate, thereby making it illegal for him to show or even produce artworks. After being conscripted into the Nazi army, the artist served in France where he was able to secretly paint in a friend’s sculpture studio. It was not until a decade after the war with his participation in the 1956 Venice Biennale that Nay made a breakthrough into the international art scene.

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Uri Katzenstein  was an Israeli sculptor, visual artist, musician, builder of musical instruments and sound machines, and film maker.
Uri was born in Tel Aviv, Israel in 1951. In his youth, he played music and joined several Rock bands. In 1969, he joined the Israeli Defense Forces and fought in the Yom Kippur War.During the late seventies of the 20th century, Uri studied at the San Francisco Art Institute and after receiving his MFA moved to New York City where he lived and worked throughout the eighties. His early works, starting from the late seventies, involved different avant-garde media Exhibits, music, performance, video and sound art. In the mid-nineties of the 20th century, he began creating sculptured Figurines, in addition to objects and sound machines which were all merged and composed as one time-based viewing / listening events.

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«Joan Hernández Pijuan was a Spanish painter known for his simple compositions, neutral colors, and expressive lines. Born on February 15, 1931 in Barcelona, Spain, he graduated from the Escuela de Bellas Artes de Sant Jordi. The Museo Municipal de Mataró hosted his first solo exhibition in 1955, and soon afterward he co-foundered Grupo Silex. The group, which included artists Eduardo Alcoy and Josep Maria Rovira Brull, explored the connection between contemporary art and primitive art forms. Moving to Paris in the late 1950s, Pijuan attended engraving and lithography classes at the École des Beaux-Arts. He began teaching at his alma mater the Escuela de Bellas Artes de Sant Jordi and in 1989, he was appointed a professor of painting in the Department of Fine Arts at the University of Barcelona. Pijuan died on December 28, 2005 in Barcelona, Spain. In 2011, the Museum of Modern Art in Moscow showcased his work in a retrospective exhibition. Today, the artist’s works are held in the collections of the Reina Sofia Museum in Madrid, the Solomon R. Guggenheim Museum in New York, and the Museum of Modern Art in Buenos Aires, among others.»

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Sea — oil painting on linen canvas, original, unique, signed 80x65 cm

Wild garden — colored drawing, mixed technique, work in passe partout 30x40 cm

Sea Wave — black and white drawing 21x30, original, unique, signed

Sea Wave — black and white drawing 21x30, original, unique, signed

Sea — black and white drawing 21x30, original, unique, signed

Mountain sketch, black and white drawing,
original, unique,
signed work in passepartout 21x 30 cm

Mountain sketch, black and white drawing,
original, unique,
signed work in passepartout 21x 30 cm

Mountain sketch, black and white drawing,
original, unique,
signed work in passepartout 21x 30 cm

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«Charles Blackman is an Australian painter known for works that incorporate scenes from Alice in Wonderland such as his Feet Beneath the Table (1956). In both his Schoolgirl and Alice series, Blackman conveys narrative events from his character’s point of view, by using exaggerated angles and strong directional light. “The artist’s job is to discover new meaning in his life,” he has said. Born on August 12, 1928 in Sydney, Australia, Blackman was largely self-taught, and became an illustrator at the Sun newspaper before moving to Melbourne in the mid-1940s. Following the move, Blackman befriended fellow artists Joy Hester, John Perceval, and Laurence Hope, and gained the support of the art critic and patron John Reed. In 1959, Blackman collaborated with a number of figurative artists, including John Brack, Arthur Boyd, and Robert Dickerson to create The Antipodeans group, which railed against Australian artists adopting American Abstract Expressionism and other non-figurative styles. He went on to receive the Order of the British Empire and continues to live and work in Sydney, Australia. Today, the artist’s works are held in the collections of the National Gallery of Victoria in Melbourne, the Metropolitan Museum of Art in New York, and the Tate Gallery in London, among others.»

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