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acrylic, pastel, graphite, acrylic marker on canvas 30 x 20"
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watercolor 24 x 24 x 1" Lavender Square is one of the pieces in my petal series, which all started with a floral arrangement. Photographing it up close, I discovered how the slightest movement of the camera created an entirely new composition. I was fascinated by the amazing color and shape of each petal. This discovery marked the beginning of a floral journey, starting in acrylic, then venturing into oil and watercolor. My background is in graphic design where I developed a bold approach to color and form. Painting shape by shape, I strive to make each one beautifully blended, and build the final painting like a puzzle, balancing color and texture as I go.
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mixed-media, aluminum, sculpted photo, fabric, fiber, encaustic wax and paper 20 x 18 x 5" “Rooted in Humanity” is a series of relief sculptures that records moments of humanity and issues of the environment, reflecting tensions within our current diverse and often divisive society. Inspiration for these works began with long walks in the woods examining nature’s design and detail. By exploring innovative methods and materials, Horowitz’s path is always evolving as are her techniques. Capturing body language, movement and how they relate to emotion and character are essential. Forms emerge from the earth, deeply rooted past struggles and growth. These works depict the human form both isolated and vulnerable and examine the frailty of the human condition.
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watercolor 12 x 9 x 1" I created this piece in a studio session with a live model, which is a favorite way to work, with a breathing person in front of you for only a short while. Watercolor is my primary medium, which enables a quickness and practiced looseness to capture an impression of the subject before me. I wanted to express the boldness of the somewhat relaxed pose. This women is determined not to be a victim and to make her own choices.
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oil, charcoal, graphite on paper 26 x 21" For three years I have lived and worked in Dutchess County/Upstate New York. Here I cannot escape--the landscape. The natural environment of the Hudson Valley are triggers: rivers, ponds, mountains, trails, farmland, forests. I look for underlying geometry and order amid nature's chaos. Using drawing and mark making with charcoal and graphite and painting with layered oils, I generate an imagined reality from a perceived experience. Draw/erase. Paint/scrape. A ghost remains. I work toward a bilateral glimpse of interconnections between what we can see and what we imagine we can see--a superficial and a subterranean geography. This blend casts the familiar in a new light.
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digital art on metal print 30 x 24 x 1" My artwork is a pictorial depiction of abstract words in spiritual concepts through the use of flower forms. By utilizing a central floral motif, I create digital images that place the flowers in a simulated environment, conveying the spiritual ideas and materializing them through digital alterations. For the artwork "Spiritual Birth," I chose a tropical flower that I captured in a photo on a trip to Florida. Its striking shape and vibrant colors inspired in me the idea of a spiritual awakening, which is an essential component of spiritual rebirth.
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ink jet print 15.375 x 12.25 x .75" My quilt top studies are a part of a larger body of work which pays tribute to family quilt makers and stone masons. This work has evolved since the 1960's and has included Conceptual Art systemic paintings, prints, and sculpture as well as more random explorations in assorted media.
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photo screenprint 29 x 21"
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oil, metal leaf, and waxed thread on canvas 19.25 x 15.25 x 1.25" "Avocado Selfie" is not a self-portrait in the traditional sense, but it is an exploration of my current visual interests set against the backdrop of my own facial features. In the piece, I explore the tension between the representational and the abstract; the flat expanses against modeled forms. I am inspired by medieval European aesthetics and my background in theater, which influenced my color and material choices and the decision to stitch thread throughout the piece.
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acrylic 24 x 20"
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oil on canvas 19 x 25 x 1" As I sat on a Chelsea Pier in New York City, a young woman stood at the rail, watching. The vision inspired the original ink drawing on 11"x14" watercolor paper. "The River" is part of my latest series translating my small plein air drawings into larger oil paintings. This painting is 18"x24" (plus 1" frame).
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acrylic with drawing media on cradled board 20 x 20 x 1.5" Dark days of the quarantine resulted in a pall over everyday life, fostering solitude and stressing hope. My work explores the limitless possibilities of abstraction without reference to objective reality while it readily accesses a feeling or mood. In this work, layers of paint and lines mix together, shift and overlap, creating a floating movement as brighter spots are revealed beneath.
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acrylic 20 x 16" I started reading books at age of four. I still love books, especially old books, they remember our ancestors and they will remember us. If you love them, they survive for hundreds and even thousands of years and dont require permanent upgrade.
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ceramic 12 x 12 x 9" The family unit is a medium between personal and social realms. Family is a medium where individual growth occurs in conjunction with interrelationships. It is a space of safety, acceptance, and extreme challenges to harmonize with one another. It is a golden middle between the eternal and the daily. A spirit of protection mediates a family. There are also daemons in the same media, to confuse, and misguide family members, to test their loyalty and their love. Finding a golden ratio among all family members while negotiating individual integrity is a happy medium. In the English language, the word medium has about 7 meanings, all of which can be seen as relevant to the concept of Family.
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watercolor pencil on 140 lb arches paper 28 x 23" This drawing, "The Hummingbird", is from a series of works inspired by my granddaughter who is brain damaged, handicapped and visually impaired. The series is called "Beauty in a Broken World". Oriana, my model and my muse, teaches me to be happy, joyous and free and how to live life on life's terms. The hummingbird's delicate grace reminds us that life is rich, beauty is everywhere, every personal connection has meaning, and that laughter is life's sweetest creations. My work has always been an expression of my core self. Whatever is happening in my life expresses itself in my work. The drawing is from a series titled "Beauty in a Broken World", which was/is inspired by my granddaughter Oriana, my model and my muse, who teaches me to live life on life's terms and be grateful, happy, joyous and free. The hummingbird's delicate grace reminds us that life is rich, beauty is everywhere, every personal connection has meaning, even in the midst of adversity.
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acrylic on canvas 17 x 21" I like painting fish. I have always enjoyed painting fish in a still life. Done from life, I arranged the objects in the painting for their contrasting colors and shapes.
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watercolor with ink and collage 12 x 16 x 1" My intent is to make visual my inner world of feelings and dreams. The creatures that inhabit this world appear during the process of creation and are not planned but embellished later. I am inspired by artists such as Klee and Kandinsky, Outsider art, and children's drawings. I am especially drawn to the element of whimsy and the directness I see in the work of these influences.
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watercolor 21 x 28 x 1" I am inspired by the mystery, magic and beauty of Mother Nature. Watermedia allows me to explore and interpret this theme intuitively. Layered with patterns and symbols, metaphor and archetypes, I unite often disparate worlds into new relationships-compositions and artworks that reveal the interconnectedness of nature, life spirit and time.
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acrylic paint 24.25 x 30 x 1.5" Some things so pure will never be destroyed, no matter how vulnerable they may seem. They persist, they learn, they grow and thrive. We can grow with them.
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thread, rice paper, maps: McNally's System of Geography, 1868 16 x 20 x 3" In Wanderlust I, maps from geography books published in 1868 are cut and recombined. The carefully charted topographies, geographies, boundaries and coordinates are physically sliced, sewn, woven and layered - ultimately transformed and inviting new explorations. Layering the paper intuitively, responding to the existing cartographic renderings, allows for new territories to form. A unique perspective of mapping the world is depicted utilizing the antique materials. In the geography books from the 1800's the observations of the world provides a record of our long held fascination and curiosity for lands beyond. That drive to search for understanding continues to capture our imaginations.
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painted collage 8 x 10" The world feels like a labyrinth . . . and I feel like Alice!
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screen-printed 20 x 20" After five years of persistent statewide drought, rampant wildfires seemed to consume much of the formerly spectacular California landscape. Shortly thereafter the rains came, and formerly barren areas could not absorb the water. Such a paradox… too little water, too much water, in just three months’ time. Climate change is real.
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watercolor 30 x 37" I wanted to show the various people and poses one encounters at the beach, as well as the perspective of distance in terms of the size if the people.
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pastel, ink, acrylic on paper 14.5 x 13.5 x 1" I wonder what it means to make art at a time when it seems we humans are not up to maintaining the health of our beautiful planet and its creatures. What I know is that for me, making art is like being a Therapist, and is like living life. Everything has a way of falling apart and then gathering together, making form out of the unformulated, continually layering and digging beneath the layers. The complexities of abstraction, color, line, and texture are the tools I employ in my passionate reach for exploration of the not yet imagined.
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acrylic & mica on canvas 30 x 24" My current work is about the collective unconscious, the evolution of language and the urge to write. Over time I have invented a symbolic language that borrows from ancient symbols but represents no language system but my own, hybrid, created one, that continues to evolve with each new piece I make. The work is meant to be read as language that has no signified meaning other than the viewers interpretation.
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yarn, excavated doll shards, black porcelain paint 30 x 28" On this hand knitted tapestry representing childhood and innocence is the tragic theme of brokenness and loss. Gun violence is the leading cause of childhood death. For every hundred thousand children, five are lost to gun violence as recorded by the CDC. As a therapist, I’ve seen their pain, fear, and the silent screams for help. In my art I seek to make their voices heard. I created Our Lost Children from raw wool, excavated doll shards, paint and tears, hoping all who see it will act to keep our children safe and break the cycle of childhood deaths by gun violence.
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welded steel scraps 30 x 12 x 12" This figure is the first in a series of ten that I started in 2021. I am concerned about families in flight - cloaked in dignity and hope under impossible conditions. Garments in tatters are implied by steel scraps, long legs bowed head indicate a will to continue. I believe art may give the viewer a chance to pause and consider stories in the world that are difficult, that it helps us see through the cracks of the world we live in, and instills empathy.
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onyx 10 x 16 x 15" The Invasive is a sculpture, in onyx, based on a two inch black seed of an invasive plant in the Hudson River. The sculptural forms of the seed are amazing and look a little like a devil"s head. Hence the nickname.
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watercolor, ink on paper 30 x 24" The painting depicts love and passion, often portrayed through the intimate interaction of the men and women in the piece. Using lines combined with watercolor and ink adds a sense of movement, life, and vitality to the figures as if they are in a passionate embrace. The composition suggests that the images are not only passionate lovers but also close friends, their connection goes beyond physical, and it is a deep and meaningful bond. Abstract elements add depth and complexity to the composition. The lines create a sense of life and energy, while the red adds emotion and intensity. I use abstract elements to create a sense of emotion and to convey a deeper meaning beyond the symbolic image
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recycled paper 19 x 9 x 9" I am inspired by organic shapes found in nature, and the structures I create are made with organic materials, paper & wood, they more or less dictate the shapes I decide to build around, which in turn become organic looking. I create coral pieces because I was always drawn to the ocean and loved snorkeling. Neither the use of paper, nor the love of nature and the ocean are unique in any way, I am but one artist in a million inspired by nature, I have a bit less competition with the material chosen; paper. What sets me apart in my work is my ability to manipulate it in the way I do.
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oil 18 x 24 x .5" Entanglements is a plein air painting of cypress trees on the rocky cliffs overlooking the blustering sea at Pescadero Point in Pebble Beach, California. The trees are entwined with one another as if in a comforting embrace, shaped by the wind coming off the water. It is late afternoon and the sun is slowly setting, shining a soft, warm light, casting shadows on the land and reflections on the sea.
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oil 30 x 30 x 1.5" My collection of paintings entitled, Where The Lemon Trees Bloom are imagined landscapes with an emphasis on the concept that the contour of the land is timeless, the vision eternal. I use the landscape to highlight color-filled shapes, depth and texture.
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ceramics and acrylic paint 15.5 x 10 x 11.5" The sculpture "Untitled (Head), is a work in clay, painted in layers of acrylic and gesso. It depicts an African American man, in state of suffering from racial abuse. It was inspired by a friend of mine, a guitar player, who came to practice one evening and told the band of the prejudice he endures on a daily basis in his workplace...
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clay 2 x 3 x 5" How can someone shoot a child? This is a young boy shielding a little girl in her classroom. I envision these two huddling next to a wall displaying preschool art, by an overturned desk, and away from a door. As much as he tries to protect her, he cannot. Wearing her favorite dress and he, his favorite hat and hoodie, their day began as any other. Unlike my other work, sculpting this was an emotional challenge that brought tears to my eyes until I had to stop. How do we make it stop?
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acrylic on cradled wood panel 30 x 30 x 2.5" The descriptive and passionately written poem, "The Sea", by Ralph Waldo Emerson, was my inspiration for this painting. I strived to create a visual image that is as sweeping as his words! I chose to paint on natural wood and kept the sides of my painting natural, to coordinate with the organic subject matter. An integrate part of this piece is my calligraphy on all 4 sides of Emerson's words in brushstrokes of paint., harmonious with my impressionistic scene's colors, brushstrokes and mark making.
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oil on paper 30 x 24" I love Central Park. I've come to know it rather intimately during the last three "Covid" years. I wanted to try and capture the feeling of a fleeting season in my painting. I used simplicity and abbreviated line and color to evoke the scene. The duck happily paddling along was the icing on the cake. I have painted similar scenes at this spot in spring and winter. No matter what else happens, it's a comfort to know it all will return again the following year.
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acrylic 24 x 24 x 1.5" "I Wanna Scream" for those who cannot. For the women whose right to speak up for themselves is constantly suppressed. For the journalists who cannot speak about a government's corruptions and/or atrocities without threat of imprisonment or physical retaliation against those they love. For the physically and emotionally abused who cannot cry for help for fear of what might happen to them. For the doctors who are threatened by their own government if they administer the care that their female patients so desperately seek. Art has always been an echo of the artist's world and of his time. And our present world has too many voices being muted. Too much silence when we need to scream!
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acrylic on canvas 19 x 25 x 1" The urban landscape of New York is my primary subject matter. I have always been fascinated by how socio-economic forces have transformed neighborhoods over the decades, but I try to capture a sense of permanence amidst the flux. The Limelight is a Chelsea landmark, and as such it is a symbol of permanence, but it also encapsulates the ever-changing demographics of the city: In the mid-nineteenth century, the building was an Episcopalian church; in the 1960's, it was deconsecrated and transformed into a rehab facility; then in the eighties, it was turned into a nightclub. More recently, the building has housed a mall and a gym.
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mixed media 20 x 16 x 1.5"
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digital painting 14 x 28 x 1" I have always loved creating landscapes, and whether I am painting with actual paint or with my computer, I quickly and happily become lost in the process. Also, always evident with either method is my intense love of color. Catskill Morning is born of my memories of family journeys through the beautiful Catskill mountains when I was a child.
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bronze 6 x 8 x 6" In 2017 a man opened fire upon a crowd that were attending an outdoor concert in Las Vegas, Nevada. The people ran to escape but were caged in by the barriers that were installed to prevent non paying customers from entrance - they were basically sardines in a can, unable to escape the onslaught of gun fire. "Child Proof? was created with the Las Vegas shooting in mind; although not carried out by a child our country has since experienced far too many gun killings.... and now even by children.
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acrylic, latex, graphite on art board 16 x 20 x .5" I moved from California just three years ago, largely due to wildfires, and found myself in a quiet rural New England town. Objects and photographs from years ago when I lived on the East Coast, that had been stored away for many years, when rediscovered, triggered an avalanche of memories and emotions. This piece is one of many that I refer to as Envisioning Emotional Connections Between Objects, Time, Memory and Experience.
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photography 22 x 18 x 1" This photo brought home to me the importance of timing. While sitting outdoors near Madison Square, I glanced up to spot the MetLife Building casting a perfect shadow of itself on a nearby office building. Minutes earlier, or later, the sun would have shifted and the shadow would have changed. An unexpected find captured at that perfect moment!
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oil on canvas 22 x 28" When I first saw Hudson Valley's landscape, I was stunned. It was picturesque, friendly, and colorful! It had incredible richness of nature - wild flowers in fields, abundance of trees and bushes, green grass around houses... Nature in Hudson Valley is so powerful that it could easily overcome human-made structures. But at the same time, nature and people their live in harmony with each other., and human habitats in Hudson Valley look so different in compare to disturbing life in big American cities. All that make this area unique and magical. In my painting I tried to express this harmony and promising way of living.
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oil on panel 7 x 7 x 2" Books, as well as objects, tell a story and have a history. This painting celebrates the typewriter with a nod toward the nostalgia for things in the past we still hold dear. Virginia Woolf said, “Happiness is in the quiet, ordinary things.” I hope this work reflects that sentiment.
SOLD
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watermedia 23 x 30" My paintings use symbols reflecting my personal experiences and Hispanic heritage. Paintings are started with a line drawing of sub-conscience images developed as I meditate. The earthy primal colors echo primitive emotions evoked by ancient art and rituals.
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terracotta 7 x 18 x 9" I’ve been working in water based clay which gets fired in a kiln, rather than plastilina on a metal armature which requires a mold, casting and patination to produce a finished piece. I love the color of the natural clay, and although it requires hollowing to avoid air bubbles which can explode in the kiln and destroy everything. The work produced is able to be offered at considerably lower price points. This piece was inspired by the model’s musculature, bulked up by recent physical training, and a joke about his male anatomy. He got “another sword” which then required a protective shield! The piece is named for the play by George Bernard Shaw, and the opening words of Virgil’s Aeneid.
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oil on panel 14.25 x 14.25 x .75" I love to paint little vignettes of everyday life. I have a bookshelf in my home studio that has my art books and little items that I love. One day as I was walking by it caught my eye and I took a some photos. This is one of 2 paintings that I have done of my book shelf. They feature "cameos" of favorite artists.
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photograph 18 x 24 x 2" I'm an artist-photographer interested in people in places. Some interact and some are alone in a crowd. The Metropolitan Rooftop is a beautiful environment to watch people in a setting that is unfamiliar but provides a space to be who they are.
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digital archival photograph sublimated to aluminum 16 x 24 x 1" Tibet first captured my imagination many years ago when I was in art school. I was finally able to make the journey to Tibet on a photographic odyssey as part of a life celebration for my 50th birthday. Even though there are very few elements in this picture, I see a complex emotional range. It is a fleeting moment that somehow has permanence and an endurance, even in a religion based on impermanence. The scene that is about to unfold might be almost exactly as it would have been six hundred years ago. But will it be the same six hundred years from now? The folded robes are silent. They contain both presence and absence. The answer is unknown.
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