With gestural marks, geometric shapes, and striking colors, abstract artists capture the subtleties of human emotions. Unbound to a reference, these thought-provoking, emotion-stirring artworks are allow the viewer to experience emotions in their pure, unmediated form.
The Best Of: Abstract Art collection gives shape to shared emotions in every shade of human experience. Elusive in its reference, generous in its meaning, abstract art speaks through color and form.
Harnessing the power of art in its basic elements, here are a few highlights from the Best Of: Abstract Art collection:
Gwen Gunter’s acrylic painting, Contemplated and Released, is an exploration of shapes and a geometric dialogue. The painting’s background – a patchwork of pink, beige, and brown rectangles – hosts an interlocked comingling of shapes and lines of a similar palette. The transparency of the individual shapes and lines give the work a layered, or stacked, quality; this emphasizes each shape as a singular entity and keystone. In her own description of the painting, Gwen characterizes her painting in terms of a conversation between a man and a woman. She says, “with definite male and female voices, this painting felt like a discussion that settled something for good.”
Made from graphite, colored pencil, ink and acrylic, this modern diptych strikes a balance that is both delicate and raw. The left and right panels, though different in their intricacies, both comprise ovals shaded in red, gray, and white set against a dark gray background. She fills in her ovals and the background with the nostalgic striations signature to colored pencils. The amorphous ovals seem almost biologic in their organic shape yet orderly confinement – like slides of cellular proliferation. The composition is unified and structured by a fine skeleton of line work that intersects itself and connects compositional boundaries.
Though Joey Korom’s Composition with Orange Line may seem subtle, this work of abstract expressionism asks big questions. By breaking the painting down to its basic components, his painting a becomes philosophical discourse asking questions about the nature of his medium. The hazy edges of the central lavender rectangle blur a boundary both literally and figuratively. These edges force questions about the relationship between color and shape: can lavender exist without a shape? Can a shape take form without a color? Are color and shape even different at all?