We always like to inspire with some design ideas. If you are unsure as to how a particular contemporary artwork print will look in your space, simply email us a picture of your room [enquiries@twfineart.com], and we'll scale and position the piece into your space using our state of the art software. The great thing about the limited edition print is that you can achieve the million dollar feeling, without the million dollar price tag. Our prints are archival, printed on the highest quality german Cotton Rag paper with densely pigmented archival inks that preserve the genuine touch and look of the original artwork, for a small fraction of the price of the original. In these interiors we've placed limited edition prints from our portfolio, precision framed and sized to best suit the space. They are available in the TWFineArt SHOP. Curatorial help is just an email away! [caption id="attachment_10354" align="aligncenter" width="453"] Yellowstone Light - Large Print by Julika Lackner $200 + Maple Frame $425 = $625[/caption] [caption id="attachment_10353" align="aligncenter" width="453"] Natural Selection #18 by Chris Trueman. XL Print $295 + Black Frame $425 = $710[/caption]

Written by

---

    

Next month we feature the work of Veronica Ibanez Romagnoli in the TWFineArt Gallery. A major theme in Veronica's work '4:36PM' is the transformative quality of light and the way it shapes how we perceive the world. Veronica's light box installations are created using multiple photo frames of the same interior scene taken over time. Each photograph is printed on glass and superimposed over the other to create a 'cross section' of moments. The work highlights the impermanence of the instant and the transient nature of our existence as our senses navigate reality moment by moment.

Working in a different medium all together, yet linked by the transformative theme, Rebecca Norton is occupied with the hidden geometric transformations of spatial reality. Affine transformations describe the constant movement of spatial planes as we move through reality. Recently Norton has been working on paintings & animations that capture the dynamism of this hidden spatial reality. View Rebecca Norton Animation here.

[caption id="attachment_8639" align="alignleft" width="338"] Untitled, Rebecca Norton 2014[/caption] [caption id="attachment_8642" align="alignleft" width="339"] Untitled, Rebecca Norton 2014[/caption]

Written by

  [divider] [caption id="attachment_8150" align="alignleft" width="464"] Act II, Oil on canvas 20" x 20" 2013[/caption] Larissa and I met in New York, on the job so to speak. Many lunches and morning coffees were spent together discussing each others work, what shows we'd seen recently and what had caught our eye. I've always admired her gusto. Larissa now lives in Chicago and I have had the pleasure of watching her work develop from afar. I remember her early works, dark and frenzied with murderous marks, as if she was attacking the canvas or paper with her tools. Dismembered bodies and featureless faces were drawn like comic figures, making the work an unsettling combination of horror and humor. Larissa's early color palette included a lot of red and brown, reminding me of blood, both wet and dry. Fresh wounds mixed with those of the past. Incessant scratchings on the surface, the repetition of similar marks over and over again like some inner torment was being played out on the surface. Great artists evolve, their work informs itself and in time, thoughts become more complete and the artwork more accomplished. Larissa is one such artist. Her work is forever evolving, becoming whole - she'll never rest though, I can't imagine that her work will ever be enough for her and that's what makes her great. [caption id="attachment_8153" align="alignright" width="446"] Echo, Oil on canvas 20" x 20" 2014[/caption] From our chats I know of Larissa's love and respect for the art that has come before us. Her understanding of modernism is evident in the sophistication of her work. She has selectively stolen a little bit from here, a little from there and made it her own. I see the references, but I also see something exciting and new. These latest paintings invite you into a fresh space, both physical and psychological. The frenzy, aggression and humor are still there, but they have become weaved amongst a sophisticated sense of space and color. I get displaced when looking at her new work. I'm thrown into a territory where I feel multiple sensations simultaneously. Anger, joy, frustration, peace with glimpses of a familiar reality. Her art mimics life, there are no definite answers, just moments of clarity and confusion, comfort and discomfort. Larissa tells stories through her work without being didactic - a condition that plagues contemporary art. Her work is charged by both process and content, a multi-dimensional drama that plays out in two dimensional space. Perhaps what I love most of all is the spatial evolution of Larissa's work - I have spent many hours just sitting in the MoMA looking, marveling really, at The Piano Lesson by Matisse. I think it is a masterpiece, formally and emotionally. It has the power to invite you into an imagined, somewhat abstract space and hold you there. It is this quality that I see in Larissa's paintings. I'm so excited to see where she goes next, because I know it will somewhere exceptional.     [caption id="attachment_8162" align="aligncenter" width="465"] The Administrator, Oil on canvas 16" x 16" 2013[/caption] [caption id="attachment_8163" align="aligncenter" width="557"] All Dried Up, Oil on canvas 30" x 40" 2014[/caption] [caption id="attachment_8164" align="aligncenter" width="558"] An Offering (For Basic Necessity) Or Lack Of, Oil on canvas 60" x 60" 2013[/caption]      

Written by