John Newman http://johnnewmanstudio.com/
John Newman http://johnnewmanstudio.com/
Jen Stark - Abyss (2011) - Hand-cut paper, wood, foamcore, glue and light
Victoria Wagner
Richard Anuszkiewicz
paintings from the 1970’s
Inverse Yellow, 1970, Acrylic on Canvas, 48 x 48 in.
Red And Others, 1970, acrylic on canvas, 48 x 48 in
Transcolor, 1970, Acrylic on Canvas, 36 x 36 in
Summer Sun, 1972, Acrylic on Canvas, 60 x 48 in.
Winter Sun, 1972, Acrylic on Canvas, 60 x 48 in
Gold Edged Rose Square, 1979, Acrylic on Canvas, 42 x 42 in. Blue
On Crimson - Cool Center, 1974, acrylic on canvas, 24 x 18 in
On Crimson - Warm Center, 1974, Acrylic on Canvas, 24 x 18 in
Red Square With Green And Lavender, 1978, , 46.5 x 46.5 in
Sunrise, 1977, Acrylic on Canvas, 48 x 48 in.
Strange Attractors by Chaotic Atmospheres
The darkest art known as Chaos Theory is perfectly embodied in the form of its strange attractors: vast looping trajectories of variables that, when plotted, conjure gorgeous yet insidiously disruptive patterns. Chaotic Atmosphere’s Math: Rules series pays tribute to the beautiful form of chaos and its inevitable collapse of all our efforts to predict it.
Artist: Behance / DeviantArt / Twitter
‘Paper faces’
Art Direction: Héctor Sos
Photographs by Xabier Mendiola
Favourite sculpture. The colours and shapes work so well with the light
Interesting how the closer to the structure you get, the more detail you see. Almost art within art
View Larger SUBMISSION:
Marcos Marchetti
“Horizonte plural”
Nankin, watercolor and pen on paper.
2013
Spectacular soap bubble photos by Mark Delepine
Negev Monument by Dani Karavan
A village of concrete sculptures covering an area of 10,000 square meters.
View Larger Martin Pfeifle - BAIBA, 2009, battens, silver foil, fluorescent light, cable. Kunsthalle Mannheim, Hector Kunstpreis. Image © Martin Pfeifle. Used here by kind permission from the artist. All rights reserved.
Martin Pfeifle´s works are cuts into space. Although they always relate to their location and are built «in situ», his settings exist nevertheless as self-referential sculptures.
Christopher Badger