BAC is grateful to every artist that donated work to our AccessArt Art Sale & Benefit. All work will be sold for $100 or $200, except where noted.
Organization For Documenting The Mood Of The Country, 2013, print on paper, thread, batting, 12 x 4.5 inches.
I used a close-up of my mother's lips from her passport photo taken five years after her arrival to Iran and sewed a text which is equivalent to "birth certificate" over it translated as its title.
In Paradise, 2011, lithograph on paper, 10 x 15 inches Ed. 8/10.
A Cut-and-fold edition using images from botanical books, an article on the Regan Years and Wallpaper patterning sourced from the internet.
Archetype I, 2010, acrylic & mixed medium on paper, 23 x 28 inches.
To create my mandalas, I incorporate my own archetypal images by making reproductions of a selection of my most personal intuitive ink and charcoal drawings (created over the past 20 years) and, in effect, re-painting them into the body of the mandala to create a rhythm or a mantra with an inevitable message. In my effort to mirror the ritual and therapeutic uses of the mandala in Buddhist, Hindu and Native American cultures throughout the centuries, I use my own archetypal images, the motion of repetitive form, the written word, color and texture to create a place of “Oneness” for meditation, expression and actualization within the confines of “the perfect circle” to mirror the beauty of the Supernova after its devastating explosion.
Winter Starling, 2012, mixed media, 15 x 19 inches.
This work is a pastel enhanced monotype from the series, "Birds from the Hand"
La Reina, 2000, oil on board, 12 x 10 inches.
Much of my work over the years has been influenced by various latin American cultures. I am interested in painting that works directly on the senses. This head of a woman is one of many I have done.
Yellow Frame 9, 2012, cast and hot worked glass, 21 x 6 x 4 inches.
While many of my sculptures appear to be malleable, they are, in fact confined to their wilted poses taking queues from surrealism, minimalism, post minimalism and pop.
Illumination at Menemsha, 2012, mixed media on canvas, 12 x 12 inches.
Abstract interpretation of waiting for sunset at Menemsha in Martha's Vineyard using acrylic paints, collage and mixed media while playing with transparencies and textures.
Est. Shot; Statuary, 2013, intaglio and screenprint on paper, 15 x 20 inches Ed. 4.
From a series of small etchings that use the vernacular of the architectural engraving and draw from screengrabs taken from movies that offer cinematic representations of the garden.
Untitled, 2010, acrylic on linen, 20 x 20 inches
This is a study for a painting I've been working on for about 3 years. This specific piece is a study of the similarities between the cloud a drop of blood makes in water and the cloud of a hydrogen bomb in opposite directions.
Finding Time, 2012, acrylic, photograph, thread, nails on canvas, 20 x 16 inches.
My work explores the feelings that come about when we are trying to figure out who we are and why we are here. Finding Time is understanding the continuous mix of time with our search for identity.
Orlekin, 2009, graphite and white gouache on paper, 20 x 16 inches.
This drawing shows someone named Orlekin staring at the sky with his feet in the mud. "Orel" in Russian means "an eagle." Needles to point out an allusion to Harlequin.
Surrogate, 2012, plastic, beads, garden moss, image cut outs, 3.5 dia. x 9 inches.
One of 500 surrogates from the 2012 project entitled "Memory of Absence," the piece is made by fusing two plastic domes with garden moss, bead particles and collage to create a transparent capsule. It's the magic pill template of the future.
EXQUISITE CORPSE, 2009, ink & gouache on mylar, 9 x12 inches.
Cowboy Symphony, 2011, Photopoem, 8.5 x 11 inches.
Cowboy Symphony is a series of four photopoems. It addresses human want, consumption and productivity versus stillness in contemporary American society.
Djembe Drum, 2012, mixed media, 26 x 14 x 14 inches.
Beautiful hand-crafted drum.
Nest, 2013, graphite on japanese rice paper, 20 x 30 inches
The drawing is a part of our recent series of drawings and mixed media works called ”What Remains.”
Untitled 9-13-01-B, 2013, acrylic, 24 x 24 inches.
The path of one's long journey. On a road to salvation. Looking for the Load.
Concrete 11264, 2013, digital print produced by bespoke software, 15 x 12 inches.
A still image from a generatively produced work, "Concrete" from 2012, a study in abstraction for LEDs.
Morning Moon, 2012, oil on canvas, 10 x 8 inches.
This work reflects the passing of time, reminiscent of the moving moon in the sky. The cropped composition brings you close to the moment and its power.
Fabricate, 2012, silver gelatin print, 11 x 14 inches Ed. 3/8.
A woman turns a mirror towards the viewer, breaking up the solid environment. She blends into the background, changes scale, and holds a part of the landscape itself.
The Jolly Balance, 2012, hand-sewn limited-edition artist book, 8.5 x 5.5 inches Ed. 100.
This book is based on drawings I made in a 1918 scientific journal. I decided to look behind the procedural descriptions, taking words and phrases out of context, to describe things that defy control.
Opportunity to commission a live painting for an event, or painting based on photos of an event, by Katherine Gressel, acrylic on canvas, 18 x 24 inches.
NOTE: pictured image is only a sample of what artist has done for others, and not the actual artwork being sold. Award-winning live event artist Katherine Gressel (of Event Painting by Katherine) will create a customized 18 x 24 acrylic painting, either onsite at your upcoming event or from photos.
White Obama, Houston, TX August 2010, 2010, Photography, 13 x 19 inches.
Triumphant Exile, 2013, oil on canvas, 10 x 30 inches.
Boy A Series #1 - 02, 2005, C-print under plexiglas, 20 x 20 inches Ed.1/3.
One of the stills extracted from a year-long manual surveillance of a building’s entrance. The series "Space Available" voyeuristic aspects renders both a sense of intimacy and distance.
Windsor Place #13, 2010, photographic print, 11 x 14 inches Ed. 3/10.
Lion (tram), 2010, archival pigment print, 20 x 24 inches.
This is from a series of photographs taken at zoos. These images depict empty exhibits, highlighting the artificial landscapes they present, and piquing questions about their unseen inhabitants.
Weep, 2012, ripped paper drawing on recycled paper, 10 x 10 inches.
My drawings are created by ripping paper with a thumbtack repeatedly, leaving a delicate, tactile relief to the surface. It is an intuitive process of mark-making; primal and meditiative.
Trailer Park, 2006, double offset print on heavy weight stock, 30 x 40 inches Ed. PP1.
This double offset print is taken from a photograph of the real Trailer Park: Mobile Public Park artwork and is transformed into a fantastical composite in order to create the image for this print.
1%, 2012, pen & ink, photoshop, laser print, 8.5 x 11 inches.
"Art is not a mirror held up to reality but rather a hammer with which to shape it." - Bertolt Brecht
Memory of Utopia, 2013, watercolor, 10 x 8 inches.
I would like to explain an unclear dream about utopia. In my mind, utopia has a distant existence. If I wanted to grab, it would vanished. Utopia was a dream city that was in the mood of melancholy.
Traverse, 2008, silk, air, water, heat, plexi, resin, metal frame, 10 x 10 x 2 inches.
Traverse was inspired by a walk in the woods. Each shape was formed using pebbles found along a trail. Once the pebbles are removed, what remains is a three dimensional drawing in space.
Destined Be, 2009, collage, 12 x 12 inches.
Collage using personal photograph, magazine, and drawing
Deep, 2011, chromogenic print, 16 x 20 inches Ed. 50.
The USS Radford, once home to over 340 sailors at a single time, was given it’s last mission; to retire and become an underwater ecosystem to house algae, fish, and other under water life alike.
HB over 2B, 2012, graphite on paper, 10 x 8 inches.
Masking fluid is applied with a brush first to designate the open spaces. Second, layers of graphite are hand drawn on the paper building up a surface then the dried fluid is lifted with an erasure.
Unbuilt #6, 2010, ink, whiteout, and acylic on paper, 13.33 x 18 inches.
Unbuilt #6 is from the Unbuilt Silver Series that is based on a mash-up of the floor plans of one of Saddam Hussein's destroyed palaces and the Olympic housing in Munich.
Spicy Chakra, 2013, acrylic and watercolor on canvas and paper, 12 x 12 inches.
Made from cuttings of my own past work, woven and mounted on paper. Part of a larger series titled "Chakras."
Brooklyn Nights: Working Out, Coney Island, Brooklyn, NY, 2013, archival inkjet print, 11 x 14 inches Ed. 5.
A photograph of three silhouetted men working out in Coney Island against the evening sky with the Parachute Jump in the background.
Afternoon #1, 2013, ink and gouache on paper, 12 x 18 inches
Untitled, 2013, fresco mounted on wood, 9 x 9 inches
Dawn, 1996, etching, 4 x 6 inches.
Fainting Couch, 2012, charcoal and graphite on paper, 7 x 9 inches.
Dark and Stormy, 2012, embroidery on antique textile, 6 x 6 inches.
This embroidered "tweet" is part of an ongoing series of succinct, hand-stitched texts, which include my own and others' confessions, wishes, love stories and dreams.
Free Money, 1999-2013, unlimited edition plaster, 12 ½ x 10 x 10 inches.
There will be a silent auction for this work.
Blue Float, 2007, acrylic on paper, 22 x 15 inches.
Music evokes the body to respond to a rhythm and become an embodiment of exuberance, expression and movement. My idea of painting is a rhythmic performance with music that creates a whole new language of abstract harmony, as a means of expressing music in visual form. The inspiration of Indian performance and various music selections inspire a language of expression, harmonious elements, and abstract figures which form patterns on my canvases. My paintings invite the viewer to wander through a universe of color and pattern in motion - a world of energy in music manifested in visual form. In the small universe I altered and accepted life of being, from everyday appreciation that gets created on canvas or in my drawings. The idea is to interpret the content of the music and express it via visual images; to create an environment of joy and passion conveying a feeling of dance and festivity while using the psyche’s imagination.
VOLUTA, 2009, laser cut translucent high impact polystyrene, dimensions variable Ed. 250.
Create your own complex, luminous “paper” sculpture. In minutes you'll transform a flat piece of material into a swirling, 3D vortex. Monofilament included for hanging.
Security Grass #07, 2013, collage created with discarded office envelopes, 11 x 14 inches.
Security Grass #07 is a collage created with discarded, patterned office envelopes. The dense grassy field echos the envelopes' intended use as camouflage for sensitive documents.
Morrison, 2013, recycled metrocards on wood, 3 x 5 inches.
Mapping the Trees 2, 2009, collagraph and mylar with embroidery, 13.5 x 17.25 inches.
This piece is part of a series of prints, paintings, and multi-media works using wood grain imagery to create imagined topographic maps.
Spookhouse Interior 2, 1997, chromogenic print, 11 x 14 inches Ed. 3/10.
Photograph of ruined interior of the Spookhouse, a dark ride at Coney Island, shortly before demolition.
Green Traffic Jam, 2011, screen print with ink wash, 9 x12 inches.
This is a screenprint on a hand painted ink wash. It is part of an ongoing visual study of traffic jams and automobile disasters.
Soy Fields, 2007, oil on canvas, 8 x 10 inches.
Mississippi, 2009, C-print (color negative), 12 x 12 inches.
Mississippi is from the ongoing landscape series "In Search of the Baobab Tree," shot over a decade of travel, in South, Central and North America, as well as India and three countries in Africa.
In saecula saeculorum (untitled 5), 2013, photograph, 13 x 19 inches Ed.10.
In saecula saeculorum (untitled 5) is part of an installation I am producing for an upcoming show in Warsaw.
Yellow Tube, 2012, ink and watercolor on paper, 18 x 24 inches.
The series “Paint Tubes” represents the expressive qualities of form of used and empty paint tubes in the studio.
No denying it, 2013, gouache, acrylic, ink on wood panel, 8 x 10 inches.
"No denying it" remixes elements of pattern, organic forms, and figurative drawing to create a psychological space of desire and transformation.
Floyd Benett Field, 2008, silver gelatin print, 20 x 24 inches Ed. 6.
This is night photograph from the series South Brooklyn.
Perennial Scape, 2012, mixed media on paper, 28 x 18 inches.
This piece is a deconstruction of forms found in out door settings. The lines beaming from the floral center are symbols of lines of vision found in a common landscape.
Gowanus Impressions 10:56:58 AM, 2009, photograph, 22 x 17 inches Ed.10/20.
This is a photograph of a pier and its reflections at the Gowanus Canal.
There Was A Time, 2012, colored pencil on paper, 13.5 x 11 inches
Found Art Foundation No. 12 Aunt Franny's Suzies, 2011, Acrylic on Birch Plywood, 6 x 6 inches.
Lehigh Valley at Red Hook, 2008, oil on canvas, 16 x 20 inches
List in formation.