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Hull in a room
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Hull Painting

Chris Brandell

United States

Painting, Acrylic on Canvas

Size: 40 W x 40 H x 1.5 D in

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SOLD
Originally listed for $1,740
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About The Artwork

This painting is 40 x 40x1.5" acrylic and oil on stretched canvas. This piece is ready to hang as is or it can be framed. The sides are painted white. This piece is highly textured with deep white and cream hues as well as the mahogany which represents the hull of the wooden sailing craft being restored. It is signed titled and dated on the back. It was inspired by the restoration of an old Chris-Craft yacht at the beach in the winter.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:40 W x 40 H x 1.5 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Born and raised in New Rochelle, New York, Chris evolved her work over the past two decades in her private studio in Vienna, Virginia. Her neutral palette conveys modern and organic elements such as metal, wood and stone, while her minimal paint marks preserve their stories. Chris’ work has produced a variety of series over the years, all with the common thread of providing evocative moments to her viewers. Her work can be found in both private and corporate collections, and she is currently represented by: Huff Harrington Fine Art in Atlanta, Georgia; Sozo Gallery in Charlotte North Carolina; Palette Home in Richmond, Virginia; and Gallery 1930, now Design Supply in Birmingham, Alabama. “I paint to explore the intersection of personal authenticity and its interaction in the natural world. For me, painting is mystical and flows intuitively from inspiration that links my mind and heart together. Informed by my love of natural, organic objects and their minimal simplicity, my recent paintings honor the beauty and peaceful subtlety of these forms with a neutral palette and raw, minimal mark making. My intention is to provide evocative art that changes the energy of its surroundings and enables observers to form their own relationship with the work. My practice is complete when I leave nothing off of the canvas, but the tension between the negative space and paint feels entirely profound.”

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