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ANALIA SABAN Layer Painting (CMY): Still Life with Three Fish and One Vase (Abstract), 2009 acrylic and screen printing ink mounted on canvas 50 1/8 x 59 5/8 inches   ARTIST BIO ​​​​​​​Analia Saban dissects and reconfigures traditional notions of painting, often using the medium of paint as the subject itself. Blurring the lines between painting and sculpture, imagery and object-hood, her work frequently includes plays on art historical references and traditions. Paintings expand to sculptural forms and sculptures are presented in two dimensions, using the process of trial and error with new techniques and technology. Her unconventional methods such as unweaving paintings, laser-burning wood and canvas, molding forms in acrylic paint, weaving paint through linen thread, remain central to her practice as she continues to explore art-making processes and materials in relation to her daily experience. Dealing with issues of fragility, balance, technique and experimentation, Saban's connection with everyday objects is at the forefront of her investigation of tangible materials and the metaphysical properties of artworks. In her layer painting series, the artist embraces rather than suppresses this natural urge toward reminiscence. The imagery in her large, luminous paintings includes flowers, inanimate objects, and animals, together evoking Dutch still-life painting, Matisse cutouts, Pop art, and more. Her innovative process draws as much on printmaking, Photoshop, and sculpture as on painting. Using a palette familiar to every designer—the titles, too, are formed from combinations of the acronym CMY (Cyan, Magenta, Yellow) —Saban paints on a separate surface and then applies this translucent paint onto the canvas in...

Thomas Wachholz Magenta 0/100/0/0, 2014 solvent inkjet print and alcohol on canvas 75 x 55 1/4 inches   ARTIST BIO Thomas Wachholz’s works include fire and light, chemical reactions and stimulations of the senses. They generate a space where trivial activities manifest themselves as engaging gestures, interacting with the viewers while leaving traces behind. The installations question the authorship of these very activities, trigger dilemmas and allow for notions of exhibiting to exist differently. In establishing the idea of a Conceptual Pop, the artist playfully examines the limits and rules of painting. Wachholz succeeds in intertwining theory with a smile, both as a spatial construct and a painterly indispensability. Born in Germany in 1984, Wachholz studied under Katharina Grosse and Marcel Odenbach at the Kunstakademie Düsseldorf, Germany.   Submit Inquiry Below hbspt.forms.create({ region: "na1", portalId: "22383903", formId: "391f530e-59f4-4ad0-81cb-e54bea6411d6" }); ...

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