Tag: shapes


B.A. D’Alessandro


Little Spontaneity

Little Spontaneity

Steel
H 11" x W 7" x D 5"
$450

Bat Out Of Hell

Bat Out Of Hell

Steel
H 11" x W 12.5" x D 4.5"
$650

Feather In The Cap

Feather In The Cap

Steel
H 17.5" x W 9.5" x D 5"
$400

Cherry Strike

Cherry Strike

Steel
H 11.5" x W 6" x D 6"
$850

Floating Tepee

Floating Tepee

Steel
H 13" x W 7" x D 6.5"
$850

 

BA-HeadShot

“Every time I step into the studio to weld I am excited at the prospect of making a new sculpture; I look forward to the process. The challenge of taking an industrial product, cutting and fabricating shapes, then welding them together to create a strong, three-dimensional design brings joy to my soul. There is nothing more invigorating than playing with steel.”

B.A. attended two Westchester County colleges, receiving an Associate of Arts degree at Briarcliff College and a Bachelor of Arts degree with Honors in Studio Art with an emphasis in sculpture at Marymount College. B.A. studied welding techniques at Silvermine Art Center, New Canaan with David Boyajian and followed him to his studio at The Sculpture Barn in New Fairfield, Connecticut.

B.A. D’Alessandro has created sculptures in a variety of materials, but has been concentrating on steel for the last twenty years. Steel lends itself well to straight lines, angles and curves; the influence of geometric shapes is apparent in her sculptures. Taking “pre-formed” stock pieces of steel, the artist arranges and organizes them to create strong, balanced structures. Painting them black gives each its own elegance. Adding color in the past few years to selected pieces has given them a new boldness.

 

 

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Charlotta Janssen


Agricultural Abundance, Do Not Spindle: Cow

Agricultural Abundance, Do Not Spindle: Cow

Oil, Acrylic, Iron Oxide & Collage Onto Canvas
52" x 72"

Two Boxers

Two Boxers

Acrylic & Iron Oxide Onto Paper
20" x 30"

The Fabric of Lincoln

The Fabric of Lincoln

Oil, Acrylic, Iron Oxide & Collage Onto Canvas
24" x 36"

Buffalo Soldier

Buffalo Soldier

Oil, Acrylic, Iron Oxide & Collage Onto Canvas
24" x 72"

Man and Machine: Flight (Clifford Harmon before the Crash)

Man and Machine: Flight (Clifford Harmon before the Crash)

Oil, Acrylic, Iron Oxide & Collage Onto Canvas
48" x 48"

Man and Invention: Coxey’s Lifesavers & Water Wings

Man and Invention: Coxey’s Lifesavers & Water Wings

Oil, Acrylic, Iron Oxide & Collage Onto Canvas
48" x 72"

I Want To Thank Bank of America For My Adjustable Rate Mortgage

I Want To Thank Bank of America For My Adjustable Rate Mortgage

Oil, Acrylic, Iron Oxide & Collage Onto Canvas
48" x 72"

 

Charlotta-headshot

“I work in a subject matter of portraiture, politics, and banality. I’m a figurative painter, though to me it’s so abstract, that it’s concrete: I just like having a figurative excuse to distribute paint unevenly onto a canvas. My medium is acrylic, oil, iron oxide (rust) and collage. The color spectrum is narrow on the cusp of black and white and color: core tones are black, white, teal and rust.

I am strongly influenced by the great void of Americana, classic portraiture, my German roots and my life in Brooklyn which to me is the tactility of the now: t a lot of urban decay which I often express in collage onto the painted work. I’m awestruck by Romare Bearden for his great use of collage and composition, Jacob Lawrence for his use of simple materials (cheap paints and lined pages) to make great work, Francis Bacon for his fearless exposure of the un-pretty human shape as well as Lucian Freud, Edward Hopper for his almost effortless depiction of the void and Norman Rockwell for his courageous depiction of kitsch. Photographers such as Ingrid Maier, Walker Evans and Dorothea Lange inspire me for their stark light and strong composition of people in every day settings as well as Disfarmer for his awkward portraiture.

I love the human stench with all its faults and beauty. I love painting it into what I call augmented portraiture: a portrait /painting with collage and retro-collage, giving you the tactility and possibly of glance at the person’s or persons’ “now” and “story”. It’s a way of bringing in sound bites, textures, abstract shapes and color into the composition.”