Dreamcatcher (2015) 绘画 由 Irina Lopuh
卖家 Irina Lopuh
“艺术”在纸上打印
这是使用非常高质量的颜料墨水在美术纸上打印并以很高的清晰度打印的过程。它的保存水平非常出色（超过100年），其质量，深度和细微差别超过了在Argentic纸上的经典照片打印。
光面漆
纤维纸除了具有非凡的厚度外，还由不含酸的α-纤维素基底组成，并覆盖有硫酸钡和在印刷过程中具有微孔层吸收作用的颜料。这款纸色为纯白色，不泛黄，特别设计用于抵抗老化。它具有出色的分辨率，呈现深沉的色彩，因此已被世界各大博物馆所采用。
Art Print“美术”-在325 g纤维原纸上的光泽处理。
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Usage： 网络许可证
| 717 px | ||
|
1500 px |
| 文件尺寸 (px) | 717x1500 |
| 全球使用 | 是 |
| 用于多点支持 | 是 |
| 用于任何类型的媒体 | 是 |
| 转售权 | 没有 |
| 最大打印数量 | 0 (Zero) |
| 拟出售的产品 | 没有 |
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艺术图片银行-
原创艺术品 (One Of A Kind)
绘画,
丙烯
在帆布上
-
外形尺寸
16.5x8.7 in
单独工作的尺寸，不带框架： 高度 15.8in, 宽度 7.9in - 是否含画框 这件作品是诬陷
- 分类 画作 低于US$500 形象艺术 神秘主义
The night mysticism was drawn. I was inventing something painting, typing, scrubbing, wiping. I literally invented it from scratch, did it as I feel. But in general, the picture is very pleasing.
Dreamcatcher on deep blue night.
Canvas on cardboard, acrylic, author's technique, 40*20 cm. Framed.
相关主题
I was born in the village of Borodinka in the Tevrizsky district of the Omsk region on 1980. In 2003, I started studying at the adult studio at the Art School No. 1 in Omsk. In 2005, I moved to Moscow. After long creative searches and experiments, in 2016 she entered the Surikov Moscow State Academic Art Institute. I studied there from 2016 to 2022. Currently I live in Istra, Moscow region, and teaches in my own art studio. I have been participating in exhibitions since 2017. My works are in private collections in Russia and the USA.
My artistic practice is centered on my own aesthetic experience. I work with images of everyday life, rethinking non-obvious, simple, often underestimated visual forms. My commitment to subjective optics allows me to discover hidden charm in unconventional plots, vernacular spaces, textures and mise en scene.
My subjects find me on their own. I only play the role of an observer and keeper of visual images-impressions, fixing, memorizing and embodying in my works those moments that surprise me. These can be unexpected associations, affective combinations of shape and color, whole complexes of inexpressible feelings and impressions – aesthetic events that occur between me and some spontaneous element of everyday reality. As an artist, I strive to preserve the impression on my memory, to make it a kind of souvenir, a reminder. Such artifacts of the aesthetic interest me for their dual content: they are both real in their reference, and fantastic because they have absorbed the breath of time – because the objects and spaces in my works are woven from a multitude of moments that I seal, sculpt in visual form.
I work in the paradigm of contemporary art, striving to contrast subjectively perceived reality with its inimitable beauty with those obsessive cults that, in their sophisticated diversity, are able to suppress and unify aesthetic experience. I see my artistic practice as part of the necessary process of returning art to real people and reducing the seemingly insurmountable speculative distance that separates the artist and his viewer.
