John Joseph Hanright Art

Glittering Autumn by Nicky Chubb [2022] Signed by the artist Acrylic on Canvas Image size: H:100 cm x W:100 cm x D:4cm Please note that insitu images are purely an indication of how ...

Yaniv Edery is a French Artist with an extreme elegance who lives in Monaco. Born in 1977, he develops unique technics in the world with resin, gloss, Swar...

Patrick Burns No Charges original newsprint, acrylic, polymer, resin on panel 32h x 48w in 81.28h x 121.92w cm PB0004 Patrick Burns b. 1987, Cleveland, OH Bio I like to explore t...

"As an African-American artist in today’s world, I embody the vast differences found in our collective backgrounds. I view them as cultural assets. We are always self discovering and...

At 5 by 10 feet, this brilliantly executed landscape on panel has a luminosity and a depth rarely seen. The painting has many layers, and is finished in resin. The central figure of ...

A lone, iconic tree stands against a vast, glowing sky. The dynamic surface of this painting is protected by a reflective resin. This is a muscular, large format and haunting landsca...

The two artists and industrial designers, Ampi Arozarena and Elena De La Fuente describe form and color as their core of exploration. They admire the dual identity the two elements c...

We are the Earth is comprised of a photograph, acrylic paint, found objects in nature (bones, leaves, flowers, stones, crystals) and resin. The base materials for the work consist of a wooden paneled canvas that provides the platform for the adhesion of a rolled photographic canvas, a fine art photography print. The canvas print, in this case a double exposure digital photograph, is adhered to the wood using a clear acrylic varnish. Acrylic Paint is added along with the objects that I found in nature, which are all placed in a careful and meticulous fashion, finally cemented in resin. This specific piece of art was my first large scale piece of its kind, created in my studio in Brooklyn in 2019. This piece was inspired by the colors of my travels, the deserts, trees, mountains and sunsets. The human depicted is myself, it is a self-portrait captured in Great Sand Dunes...

Daniel Fiorda in this new series of sculptures, continues in many ways the themes that have infused his previous work. For the last several years, Fiorda has dealt with technology, obsolescence, with the trail of discarded tech that humanity leaves behind and what it says about us. The new work takes this thematic one step further. These new wall pieces feature barely concealed found objects, almost fully engulfed by concrete, and yet still eerily discernible: industrial gears, computer keyboards, objects that evoke industrial post-digital eras. This piece is a set of 3 artworks that showcases a video editing keyboard on a white background, embedded in resin and they can be arranged for display in a variety of layouts. They come ready to hang with hanging hardware and they are signed by the artist on verso. Art measures 7 x 7 x 1.75 in (each) The overall sense is dystopian rather than apocalyptic. In Fiorda’s previous work, found objects were displayed as if unearthed from a bed of clay by a tacit anthropologist, perhaps decades into the future. A typewriter would be partially buried by dry soil and weathered by the passing of time. The underlying narrative was that of a future civilization unearthing the objects left by ours. Destruction or extinction was implied. In the new work, the obsolete technology is not found but rather engulfed by a new technology. Concrete, as a material and as a technology, has the capabilities to fully encase and envelope. In Fiorda’s new work, uniformity and the appropriation of old/new technology into new structures suggests a historical and technological challenge right around the corner, mirroring the ones in our recent past: the digital age fully replacing the analog world. These astounding sculptures, with embedded objects, are here to examine closely, and make connections between theme, material, and shape. Daniel Fiorda was born in 1963 in Buenos Aires, Argentina. Of Italian ancestry, his lineage includes a grandfather highly respected as a wood craftsman, also his father was a craftsman in addition to being a musician and poet. Because a privileged life was not his, there was no university for Fiorda. In the Old World tradition of passing on knowledge from parent to child, he learned about machinery form his father, who recognized his son's talent and encouraged it. With some private tutoring, he began sculpting in high school using found objects. The press reviews of his first exhibit, at age 20, stated that Fiorda had a definite “poetic feeling”. With this encouragement, he continued to pursue his art. After leaving Argentina, he arrived in Miami Beach via a circuitous route and set up his studio in the South Florida Art Center. He has exhibited widely throughout the US including the OK Harris Gallery, Allan Stone Gallery in New York as well as the Heriard Cimino Gallery in New Orleans, Lélia Mordoch Gallery in Paris France and Lilac Gallery in New York City. Daniel was one of the winners in the 7th Annual Sculptures Competition (2003) held at Washburn University in Topeka , Kansas. Selected on the inaugural 2006 Palm Beach International Sculpture Biennale, and exhibited for the 3rd time in Sculpture Key West. He is an alumni Artist of ArtCenter/South Florida. Two Pieces from his “Convertible Couch projects...

BILLY, 1975, epoxy painting on riveted fiberglass and aluminum, titled signed and dated verso . Gallery label from Obelisk Gallery, Boston, MA Tom Holland (born 1936 in Seattle, Was...

"As an African-American artist in today’s world, I embody the vast differences found in our collective backgrounds. I view them as cultural assets. We are always self discovering and these self discoveries take us in surprising directions. We must gain strength from what we learn from each other as well as listen to that persistent, ever present, intuitive self. The connection of one’s own rich heritage and person growth will travel into the inevitable and critical connection between African Americans and Africa. These connections are rich and very important. They Exist! My work, I hope, will serve as a creative connection between the African diaspora and western culture. It is this connection that cause my creative forces to react." Janice Frame...

Drawing on the cultural and geographic influences of his California roots, Greg Miller explores images of the American urban and rural landscape of the mid-twentieth century. The wor...