The path behind the dead pine

I’ve got my one way ticket to the sky
God will wipe away our tears
No more sorrow, no more fears

Materials used: Cotton canvas mounted on 2 cm stretcher bars. Acid- and lignin-free, museum quality for highest age resistance.
Size: 40 x 40 x 8 cm with silver color

Artwork can be positioned vertically and horizontally.

The certificate of authenticity is signed by the artist, and guarantees your print is a limited artwork only available at the editions stated.

I am also working on other images in this format but if you see an image in my portfolio that you would like to see as a circle, just let me know.

*Colors on the picture may slightly vary depending on individual settings of your monitor.

#smallabstracts #goldtexture #mixedmediapainting #smallabstractsoncanvas

ONE WAY

There's this notion in my society at the time where masculinity meant that to be masculine, expression of love in a nonsexual way towards another male was unacceptable. Men who wore shades of colours that the wider society has compartmentalized as feminine like colours, were seen as effeminate and did not represent what masculinity  meant for that particular generation or social class. The work attempts to break those barriers, and set a tone  within a space that spoke to a type of freedom.

Porcelain Disposition VIII

see no evil

Fluoreszenz Fresh!

EL TRIO "II"

ghost chair

This digital collection contains some of the works created by Alessio Guano between the end of 2020 and January 2021. The works collected here are almost all made with digital techniques and finished by hand.



RECENT WORKS

Dialoghi is a series that I started during this time in isolation. Dialoghi means "dialogues" in italian; dialogues with the people confined with you, your family, your housemate, your partner or just yourself. In the era where we live technology controls our life and our relationships. This time might have been an opportunity to discover oneself, get to know better the other/s, reflect, enjoy small things.

Dialoghi

I have always wanted to do a collage full of flowers, and the people of Urkin longboards gave life to it.
This is a special edition of only 25 decks.

Longboard skate design

Sky House, 2014.
Oil, manila pattern paper, and bolt fabric on birch wood panel, 20 x 20 inches.

Sky House

In this work, three vintage Kennecott Copper Corporation billboard ads show narratives of economic prosperity and job creation that circulated widely during the dawn of industrialization. The billboards sit on top of slag waste piles and have embedded animations that illustrate a starkly different reality. Elements of the poster slowly begin to move in the animation to illustrate the labor strikes, abandoned houses, and environmental degradation in mining towns today.
The visual differences exemplify the disconnect between what was promised to these communities and the material living conditions the towns were actually left with.

Years of Life lost (we are within the waste)

2021
Black ambrotypes in artist's frames, diptych

Lazy Semaphores

NATURE MORTE no.2 à la dérive
STILL LIFE no.2 DRIFTING
Painted wood frame, metal, oil painting fragment, 14 in x 11 in x 0.75 in, 2020
DRIFTS DRIFTING PHASE II Installation Project. Photo: Paul Litherland

The DRIFTS DRIFTING PHASE II installation project proposes a questioning of human and artistic drift, a theme that Anne-Marie Giroux has been exploring since 2014. Taking a critical and mocking approach to the relevance of the very essence of the art object, the artist also questions the relevance of being an artist and most specifically, the importance of being a woman artist. Composed of three-dimensional works developed with traditional mediums and recovered materials, the installation is presented as a still life, fragmented with multiple « self-portraits » of the artist and her art, adrift.

In the continuity of the DRIFT (2014-2018) and DRIFTING (2017-2018) series as well as the DRIFTS PHASE I installation project (2O19), it is during the Covid-19 confinement of spring 2020 that the artist undertook the creation of the DRIFTS DRIFTING PHASE II installation project. In December 2020, she also had the opportunity to complete an artist residency that allowed her to refine the project and create in situ at Galerie ERGA in Montreal. The artist now plans to present the project publicly.

Anne-Marie Giroux attaches great importance to the creative process. One of the peculiarities of the project comes from a desire to push the practice of painting and sculpture further. She challenges herself to compose with the surrounding material in her studio, whether it is with the oil painting fragments that dried and that accumulated, plasters and cements created for previous projects, materials and objects that have piled up in the studio over the years.

Greatly inspired by the work of Duchamp (transposition of the object into art), Ed Rushcha (conceptual aspect) and Mathieu Lefèvre (questioning and relevance of being an artist), she has created a series of three-dimensional works offering a poetic and minimalist in situ that will be able to transform and recompose itself in the spaces that will host it.

Still life no.2 drifting

Through the medium of oil paint my work captures imagery of the everyday in New York City to highlight the dystopian reality of 2020. My practice focuses on the screen as a surface of mediation, protection, isolation, safety, and fear. Together we acknowledge the courage of our essential workers during these unprecedented times, and their protection of and service to the community at large. I recognize the screen as a barrier and charged index that both separates and unites us. This physical boundary functions as a space from which to consider our privilege and reflect upon our position as human beings during these unprecedented times. It is a barrier that mediates the body and incites questions regarding human desire and fear: the inability to touch during a global health crisis and the longing to connect.

Untitled (07/16/2020)

As a textile artist, I use materials, textures, imagery, and senses to evoke place and time. This year in particular, I tried to bring a feeling of comfort back to the isolated existence I experienced in America in the midst of a global pandemic. I wanted to make my home in India almost palpable- within my reach.

Working on the jacquard loom and embedding a textile with spices common in my family’s cooking allowed me to capture the comfort of scent; just the smell of a spice can trigger fond, powerful memories. Now these textiles can envelop a space with the scent of spices, but have also become meaningful objects that can be folded up and taken with me wherever I go, as a reminder of home and the warmth it brings.


Aromatics

Wake up (2020-2021) is a sculpture composed by two plastic containers filled with bee honey. Thanks to infusion equipment connected to the containers, the honey drips on a glass box that covers the body of a taxidermied hare. This artwork rescues two meaningful elements according to its symbolism on the history of art: the hare and the honey.

Wake up

A self-portrait, titled 'Saturating and Sinking Deeper', from the series CALAMITIES- PLASTIC & FAUNA. 

33.1 x 46.8"

Archival Digital C Type Print 

Dibond Mount+ S/Frame 15mm sub frame

CALAMITIES-PLASTIC & FAUNA was JABO's  response to the headlines surrounding the severity of the Microplastic problem that we are all currently living. The headline that vehemently took O'Neill's mind - 'Microplastic's have become discoverable in Human Organs'. 
Throughout the U.K. Lockdown she became relentless with materials and produced a body of work that contains photographs, sculpture and an oral poetic performance. When combined, CALAMITIES-PLASTIC & FAUNA engages with and stimulates emotional response in the viewer by combining a contradiction of jarring, self-portraits and beautiful sea fauna cyanotypes. In order to elicit the disruptive symbiosis between the manmade material, sea fauna and the human - leaning on aesthetic attraction and haptic/ bodily experiences of the viewer to spotlight the severity of the Microplastic problem. 

Saturating and Sinking Deeper

Portrait of a Liberian Girl

What define jewelry? Wearability? Precious material?


Drawing of penis with horse tail hair and human pubic hair.