Browse over works of contemporary art for sale in the price range . On this page you can find works by Lilly Ames, Pablo Picasso, Hilary Pollock, Jean Dominique Martin, Tamar Sorkin, Kareen Anchen, Robert Reiber, Mimma Umeton, Rachel E Heberling, Tinko Dimov.
Hilary Pollock - When contemplating creativity, I admit to being impressed by the draftsmanship of Gustav Klimt,the audacity and creativity of Picasso and the fortitude of Artemisia Gentileschi and many other female artists. The "Lady and the Unicorn" tapestries in Paris move me greatly for their colour and their detail in particular. I have my own style and language which has developed over the years from experimentation with a variety of mediums and different approaches to my subject matter. Some things become favourites, contributing to a personal language and the sheer pleasure of creating. The process is the important thing. Creativity for the visual artist is all about struggle,excitement and energy....
Tamar Sorkin - I have always worked from organic subjects- plants, animals, or the human body, but usually I arrive at an abstract, "zoomorphic" description, that enables me a wider perspective. ...
Kareen Anchen - "Drawing has become increasingly important in my life and Printmaking is a natural extension of Drawing. I enjoy the challenge of trying to capture a picture I can see in the observed and imagined world. Making drawing provides me this opportunity to see through 'art eyes' and to access a part of my brain that relishes the act of visioning and drawing. Being able to translate drawings and marks into prints allows me the opportunity to be interpretive and to play with the process of plate making. There is something wonderfully alchemical about watching acid 'bite' into metal when making an etching, the smell of the ink, the feel of the paper, the rigour around the whole printmaking and drawing process gives me a sense of order which calms me down at a very deep level." ...
Rachel E Heberling - I walked up the dirt road before leaving the mountains. Fall was creeping in. I thought a car had driven by, but there remained a strange banging and rattling noise. I turned around and listened, yet nobody was there. I looked again; it was just a 25 mile-an-hour sign caught up in a tree. With the winds kicking up, I ran back down the hill. There were always strange machines in the basement. A Victrola, oil lamps, and car transmissions sat in the dark, collecting dust by the coal furnace. I grew up in a log home on a mountainside in Pennsylvania's coal regions, where black slag piles were poised to swallow one-street towns: a landmark of the Industrial Revolution's demise. When I would pass just over the ridge and wander through abandoned factories, I could feel the heavy air inside: damp and laden with an eerie silence. My childhood existed at the tail end of an era of typewriters and rotary phones: forms of communication that demand a physical connection. These fragmented memories still exist in the tactility of ink embedded into a surface, whether rolled through a press or fed through a typewriter. ...
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