Seller Kristopher Lionel
"Fine-Arts" prints on paper
It is a process of printing on art paper using very high-quality pigment inks and printed in very high definition. Its level of conservation is exceptional (more than 100 years), its quality, depth, and richness of nuances exceeds the classic photo print on Argentic paper.
Glossy finish
Apart from its exceptional thickness, the fiber paper is composed of an alpha-cellulose base without acid and it is covered with barium sulphate, and a microporous layer absorption enhancing pigments during printing. A pure white color, non-yellowing to light, this paper is especially designed for resistance and aging. It is used by major museums worldwide as it offers excellent resolution, rendering deep and dense colors.
Art Print "Fine Art" - Glossy finish on a fiber base paper 325 g.
Our high end prints and reproductions
ArtMajeur only uses natural papers with neutral pH, resistant, and of high quality, selected from renowned papermakers!
Constant attention is paid by our master printer, whether in terms of color control or respect for the graphic chain. Our high level of quality requirement is a major asset of ArtMajeur framed art prints.
For Artists! You help artists to live from their work. They receive royalties everytime you buy their prints.
About our fine prints-
Original Artwork (One Of A Kind)
Painting,
Oil
on Canvas
- Dimensions Height 39.5in, Width 50.5in
- Framing This artwork is not framed
- Categories Paintings under $20,000 Abstract Landscape
* 'Firmament' was awarded 1st Place in the Light Space and Time Online Art Gallery's 5th Annual “Patterns” Art Competition. The gallery received 531 entries from 22 different countries from around the world, as well as from 31 different states and the District of Columbia.
'Firmament' is an expressive, surrealistic, abstract landscape in oil on stretched canvas. The composition of this painting was influenced by another piece from my 'Veiled Surfaces' series titled 'The Air Cast It's Shadow on the Water' in which I explore qualities of airiness and ethereality, using shadow as a medium, a "material" component of the piece.
'Firmament' was developed around the idea of rendering the air and sky as a tangible structure, the firmament. For this piece, I used light, atmosphere, transparency, line, shape, and color to create a complex, arching, multifaceted composition built around a central horizon line, achieving a dynamic sense of depth through the dividing and layering of visual spaces.
Consistent with my approach to the abstract expressionistic work in my 'Surfaces' and 'Veiled Surfaces' series, while painting 'Firmament' I used line, shape, and color non-objectively, like notes of music, not to describe but rather to be emotive and contemplative.
At the same time, similar to works from those series like: 'The Moment Ossified (Surface 1), 'Glimpse (Veiled Surface, Iteration 3)', and 'Copper, Water, Steel, and Air (Veiled Surface, Iteration 19)', 'Firmament' contains lyrical, dreamlike, representational elements. In the painting, below the arching structure and receding to the horizon, the land is clearly rendered in sandy ochre tones. Above is a bright blue sky holding a few wispy clouds.
To the left, the painting depicts a landscape seen through solid girders that create the framework of an open structure. To the right, the structure transforms, becoming enclosed by semi-opaque and opaque curved and flat planes. The arching lines suggest an egg, a head on its side, a breast, and the cross-section of the lens of an eye. These more literal, lyrical elements begin to change the structure from a physical thing to an intangible one, a construct of thought.
I think of this painting in terms of music, purely abstract, emotive notes arranged with evocative, poetic lyrics. Through this piece, with paint, I set out to depict air and, through the process, by working intuitively and allowing my subconscious to assert itself, found that I was not merely attempting to render the air and sky as a tangible structure, but to render memory and thought itself.
'Firmament' is an offshoot from my series 'Veiled Surface (Iterations)' which, in turn, developed out of my 'Surface' series. 'Firmament' departs from the work in 'Veiled Surface (Iterations)' from the first step. When making my 'Iterations,' the first step is to veil (cover) a piece from 'Surfaces' by laying paper or canvas on it. I then use charcoal, chalk, or pencil to make a rubbing that lifts an impression (sketch) from the surface, in which the bas-relief cuts and textures underneath are transferred to the support. For 'Firmament,' my first step was to free-hand sketch in oil the initial composition as an interpretation of my piece 'The Air Cast Its Shadow On The Water (Veiled Surface, Iteration 11)'. From there, the piece was completed in oil.
Related themes
AbstractLandscape PaintingAbstract ArtAbstract ExpressionismSurrealism
Kristopher is a contemporary American artist whose work, which includes paintings, wall art, and sculpture, has been widely exhibited in solo and group exhibitions throughout New England and are included in both private and public collections. In April 2022, Kristopher was invited to join the Silvermine Guild of Artists in New Canaan CT. His work has received numerous awards including: 2022 - Honorable Mention in Light Space Time Gallery's 13th Abstracts Art Exhibition (United States). 2022 - Finalist in Art Show International Gallery's 4th PORTRAIT Art Competition (international). 2021 - 1st Place, Overall. Light Space Time Gallery's 5th Annual Abstracts Art Exhibition (United States). 2021 - 1st Place, Paint & Other Media. Light Space Time Gallery's 5th Annual Abstracts Art Exhibition (United States). 2021 - Honorable Mention, Light Space Time Gallery's 12th Abstracts Art Exhibition (United States).
Kristopher attended the art program at Hartwick College in Oneonta, NY, where he received his BFA with a concentration in sculpture (graduating cum laude and being awarded Departmental Distinction in Art). He then enrolled in the postgraduate sculpture program at Washington University in St. Louis, MO, where he received his MFA. In school, Kristopher developed his interest and skills in wood and metalworking. After graduating, he moved to Atlanta, GA, where he worked as a metal fabricator. Applying this experience, Kristopher moved to his home state of Connecticut to launch a business designing and making artistic furniture. He ran his business until 2009 when he decided to close his furniture shop to focus singularly on his life's purpose—to make art.
Kristopher's artistic focus shifts between several series that include, interactive sculpture, wall sculpture, abstract painting, and allegorical painting, all conceptually connected by themes directly and indirectly related to or inspired by Nature. Through an ongoing series of allegorical paintings, using symbolism and satire, Kristopher explores themes of environmental degradation brought on by human activity. He examines the consequences of our relationship to the natural world where we have placed ourselves above and outside of Nature as apposed to intrinsically connected to it.
In his abstract painting and wall sculpture, he uses color, shape, line, material, and composition, expressively to create evocative, visually immersive works.
Currently, Kristopher is focused on the development of a sculpture series titled, 'Time Will Tell', which will ultimately include twenty-four, interactive, sound-generating, mechanical sculptures. Individually, the sculptures will vary in scale and material but they will all generate the sound of rain. The sculptures in the series 'Time Will Tell' raise questions about technology, utility, purpose, and our relationship to Nature.
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Nationality:
UNITED STATES
- Date of birth : 1971
- Artistic domains:
- Groups: Contemporary American Artists
