Somewhere between a computer screen saver, a journey to find your spirit animal, and a car window streaked with rain, you'll find Chris Trueman's electric abstract canvases. (Huffington Post) [caption id="attachment_7301" align="alignleft" width="538"] Natural Selection #28, Chris Trueman 2012[/caption] 'My process begins on a raw canvas, I start by painting gesturally, with brushes, squeegees, and a variety of tools. The second layer is often a process of masking and spraying with an acrylic based spray paint. In this process I have to start building backwards, because the negative space is what will show through. Sometimes the spray is solid, at other times it allows the previous layer to show through, sometimes the masked layer covers the whole surface, sometimes just parts of the painting. The interesting thing about using the acrylic spray paint is that it adheres differently to the various surfaces, so the areas with the underlying gesture the spray is more solid, whereas the areas of raw canvas, the paint doesn't adhere as well. This ends up merging the layers, rather than a flat even graphic layer on top of a gestural painting, the graphic layer takes on the shapes and forms of the underlying layers. I then repeat this back and forth, more gestural painting, sometimes staining by watering down the acrylic paint and then back to the masking and spraying. What makes this body of work different than the previous bodies of work is that the gesture comes back to the top, before the final layer was a masked and sprayed layer. I know it is finished when there is a tension and balance between the forms, even though I work somewhat intuitively in the process, I start out with an idea of what the work will more or less look and act like in the end and I can see when I have accomplished my objectives while maintaining a freshness.' CT Chris Trueman - Interview We are thrilled to be working with Chris . Visit his artist page to view our exclusive limited edition print portfolio.

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Awkward x 2 is a collaborative project between artists Jeremy Gilbert-Rolfe and Rebecca Norton. The artists work alternately on each piece, going back and forth with the artwork, building upon each others composition to create a visual hybrid. The Museum of Contemporary Art in California (MoCa) recently featured the artists work on MoCa TV. To browse these works in print, visit Rebecca Norton or Jeremy Gilbert-Rolfe's page at twfineart.com. [divider] MoCa TV - Published on Jan 18, 2013  Painters Jeremy Gilbert-Rolfe and Rebecca Norton try to make work that they can't predict, superimposing grids in their collaborative paintings to create a third image whose existence hovers between each painter's marks. In this unconventional artist talk, Gilbert-Rolfe and Norton discuss the various facets of their work, from conception to execution. Mapping irregular spaces onto the canvas is a way for the painters to generate an unfamiliar, yet controlled zones of movement animated by geometry. Colors are then added to the gridded spaces, releasing forces already present in the painting's structure. Referring to the weightless movement of the animated cartoon image, Gilbert-Rolfe and Norton's colorful collaborative paintings are full of physics: speed, mass, light, and math. Key to their process is the notion of going against expectations. As Rolfe-Norton explains,"Good art cuts across art history by not fulfilling its expectations, but instead doing something else." Filmed by Stephen Pagano and Tom Salvaggio. Edited by Stephen Pagano VIEW @ MoCa TV

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Throughout his work, Gonzalez-Torres (American, born Cuba. 1957–1996) questioned the notion of the unique art object, making series of works based on identical pairs (two clocks ticking side-by-side, two mirrors embedded in a wall) or finding inspiration in the possibilities of endless reproducibility (stacks of sheets as give-aways for visitors, piles of candy to be continually replenished). (MoMA) I had studied Gonzalez-Torres’ work at University and was fascinated by his approach to art making. It’s quite funny watching people unfamiliar with his work look on in horror as others remove pieces of the artwork and then walk out of the museum. What many people don't realize, and what makes Gonzalez-Torres' work so interesting, is that the pieces are designed to be touched and yes, taken home with you. Gonzalez-Torres wanted his work to be disseminated, to exist in unlimited, multiple places at the same time, and to be realized completely only through the participation of the viewer, which he described as “one enormous collaboration with the public,” in which the “pieces just disperse themselves like a virus that goes to many different places—homes, studios, shops, bathrooms, whatever.” FGT In 1992 critic Anne Umland imagined the future reception of his work, writing ‘a photograph promises the possibility of replication, of reemergence in a different time and under different historical circumstances, a moment when this poignant image may come to mean very different things.” I look forward to seeing the next iteration of this idea within painting and drawing! Reproducibility, collaboration, circulation and accessibility — we have reinterpreted Gonzalez Torres’ vision and incorporated his concepts into our practice at TWFineArt. We are playing with his ideas, reproducing the once unique, financially unattainable art object and in the process we aim to break down the gallery/museum experience. Great art can and should be for everyone – All for Art & Art for All.

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Max Greis: “I create landscapes that fuse the past together with the present and the future. Drawing from the influences of Asian and surrealist landscapes, old magazines and museum dioramas, I create what I like to call archaic armageddons.” Greis' print portfolio includes epic paintings and photographs of elaborate, hand made dioramas that nostalgically explore the complex, changing nature of our world Greis completed his post graduate studies at Hunter College in New York City and has exhibited in galleries including Pavel Zoubok Gallery, Edward Hopper House Art Center and the National Arts Club. Greis lives and works in New York City. [caption id="attachment_6837" align="alignleft" width="800"] Brief Eternity, Max Greis 2010[/caption]

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Many people seem unsure as to how to correctly hang an artwork. While there is no right or wrong way, there is a method that maximizes visibility and guarantees consistency throughout your home as your collection grows and you hang more art on your walls. To make things easy, our frames are custom fitted with the highest quality hardware for hanging and are ready for installation, all you need is picture hook, a measuring tape, a graphite pencil and a hammer. Make sure that you choose a picture hook that can support the weight of the piece you plan on hanging.

TWFA Weight Guide for framed prints:

• Small - 3.0 kg
• Medium - 3.5 kg
• Large -  4.0 kg
• XL - 5.0 kg

Here is a simple step by step guide to successfully hang your TWFA print.

Step 1. Using the measuring tape, measure the total horizontal width of the wall you have chosen to hang the artwork on. Mark the halfway point with the graphite pencil – these marks can easily be erased.

Step 2.  

From the horizontal halfway point, measure the vertical distance from the floor to your eye level (approx. 60 - 65 inches) and mark that point on the wall. When looking at an artwork your eye should fall 1/3 of the way down from the top of the artwork. 

  Step 3. At the vertical point you just marked, hammer the picture hook into your plaster wall. The picture hook goes into the wall on an angle, and is able to support more weight than a simple nail or screw.   Step 4. Grab the center point of the string at the back of the picture frame and hang that point over the picture hook.

Step 6. 

Level the painting to make sure that it is hanging evenly. All done!

 

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