Burnt Panel No. 97 Rzeźba autorstwa Jonah Ward

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Sprzedane przez CK Art

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Ta grafika pojawia się w 2 kolekcjach
  • Oryginalna praca Rzeźba, na Drewno
  • Wymiary Wysokość 9,5in, Szerokość 18,9in
  • Nadaje się na zewnątrz? Nie, Ta grafika nie może być wyświetlana na zewnątrz!
  • Kategorie Rzeźby poniżej 5 000 USD Abstrakcyjna
Jonah's original, and most prevalent series of work are his "Glass-burned Panels", composed of panels of wood stamped with what could be tar-like paint and printed with abstract designs and meanderings. Upon closer inspection, the different woods—with their different grains, colors, and textures—are scarred with burns: what is left over[...]
Jonah's original, and most prevalent series of work are his "Glass-burned Panels", composed of panels of wood stamped with what could be tar-like paint and printed with abstract designs and meanderings. Upon closer inspection, the different woods—with their different grains, colors, and textures—are scarred with burns: what is left over when Jonah drips, ladles, presses, cools, and peels molten glass from them. The final image essentially becomes a drawing made with glass.

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WoodGlassBurnedOrganicPanel

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Abstrakcyjna Wood Glass Burned Organic panel
Artysta reprezentowany przez CK Art
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Jonah Ward Portret
Jonah Ward
Stany Zjednoczone
Artist Jonah Ward (b. August 31, 1984) creates works of art that, in their most literal form, are compellingly aesthetic; in their most metaphorical, they are a testament to our always relevant interaction[...]

Artist Jonah Ward (b. August 31, 1984) creates works of art that, in their most literal form, are compellingly aesthetic; in their most metaphorical, they are a testament to our always relevant interaction with the natural world.

Jonah’s works are as much a product of his education as his background—born on Foster Mountain in Willits, California, raised on a historic homestead at the end of red dirt roads, and educated in a one-room schoolhouse. Through his art he continues to cultivate his dialogue with nature. While requiring sustained physical interaction with natural materials, Jonah’s works are also paradoxically devoid of his literal touch or imprint. He acts more as a facilitator—harnessing natural processes and phenomena, while also according them their proper respect for their capacity for both incommensurable beauty and destruction.

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