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This painting was made with encaustic (pigment-rich pharmaceutical-grade beeswax), oil stick and gold metallic pigment (powdered), through a process of fusing, carving into, fusing again (with a butane torch, heat gun and heat lamp), and repeatedly shaping the areas of color.  What I enjoy most about painting this way is that I am using the same forces, in a very minor way, that shaped the features of deep space. Such imagery, newly available to us, inspires me, thus  paintings like this resemble a tiny microcosm of some event in the cosmos.  I use thermal energy, matter (the minerals in the pigment), air currents and the movement of wax from a liquid to a solid state. The details are so dense and so complex: it would be impossible to paint them in a conventional manner, and yet the whole makes a dynamic abstract that would illuminate any wall upon which it hung. Painted on cradled hardboard panel, 2 inches deep (24x24x2), this work comes ready to hang, signed and dated, and with a digital Certificate of Authenticity so that it can be registered securely and transferred upon resale. The primary colors are deep cobalt violet, copper, azure, and cadmium red.  There's some pearlized white and striations of gold.  This is truly a unique and dynamic painting, one that will reward years of looking. Signed and dated on the back, this painting ships with a digitally-registered Certificate of Authenticity.
This painting was made with encaustic (pigment-rich pharmaceutical-grade beeswax), oil stick and gold metallic pigment (powdered), through a process of fusing, carving into, fusing again (with a butane torch, heat gun and heat lamp), and repeatedly shaping the areas of color.  What I enjoy most about painting this way is that I am using the same forces, in a very minor way, that shaped the features of deep space. Such imagery, newly available to us, inspires me, thus  paintings like this resemble a tiny microcosm of some event in the cosmos.  I use thermal energy, matter (the minerals in the pigment), air currents and the movement of wax from a liquid to a solid state. The details are so dense and so complex: it would be impossible to paint them in a conventional manner, and yet the whole makes a dynamic abstract that would illuminate any wall upon which it hung. Painted on cradled hardboard panel, 2 inches deep (24x24x2), this work comes ready to hang, signed and dated, and with a digital Certificate of Authenticity so that it can be registered securely and transferred upon resale. The primary colors are deep cobalt violet, copper, azure, and cadmium red.  There's some pearlized white and striations of gold.  This is truly a unique and dynamic painting, one that will reward years of looking. Signed and dated on the back, this painting ships with a digitally-registered Certificate of Authenticity.
This painting was made with encaustic (pigment-rich pharmaceutical-grade beeswax), oil stick and gold metallic pigment (powdered), through a process of fusing, carving into, fusing again (with a butane torch, heat gun and heat lamp), and repeatedly shaping the areas of color.  What I enjoy most about painting this way is that I am using the same forces, in a very minor way, that shaped the features of deep space. Such imagery, newly available to us, inspires me, thus  paintings like this resemble a tiny microcosm of some event in the cosmos.  I use thermal energy, matter (the minerals in the pigment), air currents and the movement of wax from a liquid to a solid state. The details are so dense and so complex: it would be impossible to paint them in a conventional manner, and yet the whole makes a dynamic abstract that would illuminate any wall upon which it hung. Painted on cradled hardboard panel, 2 inches deep (24x24x2), this work comes ready to hang, signed and dated, and with a digital Certificate of Authenticity so that it can be registered securely and transferred upon resale. The primary colors are deep cobalt violet, copper, azure, and cadmium red.  There's some pearlized white and striations of gold.  This is truly a unique and dynamic painting, one that will reward years of looking. Signed and dated on the back, this painting ships with a digitally-registered Certificate of Authenticity.
This painting was made with encaustic (pigment-rich pharmaceutical-grade beeswax), oil stick and gold metallic pigment (powdered), through a process of fusing, carving into, fusing again (with a butane torch, heat gun and heat lamp), and repeatedly shaping the areas of color.  What I enjoy most about painting this way is that I am using the same forces, in a very minor way, that shaped the features of deep space. Such imagery, newly available to us, inspires me, thus  paintings like this resemble a tiny microcosm of some event in the cosmos.  I use thermal energy, matter (the minerals in the pigment), air currents and the movement of wax from a liquid to a solid state. The details are so dense and so complex: it would be impossible to paint them in a conventional manner, and yet the whole makes a dynamic abstract that would illuminate any wall upon which it hung. Painted on cradled hardboard panel, 2 inches deep (24x24x2), this work comes ready to hang, signed and dated, and with a digital Certificate of Authenticity so that it can be registered securely and transferred upon resale. The primary colors are deep cobalt violet, copper, azure, and cadmium red.  There's some pearlized white and striations of gold.  This is truly a unique and dynamic painting, one that will reward years of looking. Signed and dated on the back, this painting ships with a digitally-registered Certificate of Authenticity.
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The Exuberant Bouquet Painting

Gray Jacobik

United States

Painting, Oil on Wood

Size: 24 W x 24 H x 2 D in

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SOLD
Originally listed for $1,000
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About The Artwork

This painting was made with encaustic (pigment-rich pharmaceutical-grade beeswax), oil stick and gold metallic pigment (powdered), through a process of fusing, carving into, fusing again (with a butane torch, heat gun and heat lamp), and repeatedly shaping the areas of color. What I enjoy most about painting this way is that I am using the same forces, in a very minor way, that shaped the features of deep space. Such imagery, newly available to us, inspires me, thus paintings like this resemble a tiny microcosm of some event in the cosmos. I use thermal energy, matter (the minerals in the pigment), air currents and the movement of wax from a liquid to a solid state. The details are so dense and so complex: it would be impossible to paint them in a conventional manner, and yet the whole makes a dynamic abstract that would illuminate any wall upon which it hung. Painted on cradled hardboard panel, 2 inches deep (24x24x2), this work comes ready to hang, signed and dated, and with a digital Certificate of Authenticity so that it can be registered securely and transferred upon resale. The primary colors are deep cobalt violet, copper, azure, and cadmium red. There's some pearlized white and striations of gold. This is truly a unique and dynamic painting, one that will reward years of looking. Signed and dated on the back, this painting ships with a digitally-registered Certificate of Authenticity.

Details & Dimensions

Painting:Oil on Wood

Original:One-of-a-kind Artwork

Size:24 W x 24 H x 2 D in

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I was born in Newport News, Virginia, USA, and live and work in Deep River, Connecticut, I am a studio artist whose practice is focused on abstract work (expressive and geometric) in acrylic, oil, encaustic and gouache as well as realistic oil and acrylic paintings (still life and landscape). I paint on linen, aluminum, MDF and cradled basswood panels, usually, but not always, in a square format. I have been most influenced by the work of Richard Diebenkorn, Helen Frankenthaler, Joan Mitchell, and among contemporary painters, Emily Mason, Brian Rutenberg and Frank Bowling. Interpreting ideas abstractly excites my imagination, and my own excitement leads me to reason that what I paint might be of value to others. When I'm painting, I alter my gestures, colors, lines, overall composition, my rhythm, and my materials, in service of an aesthetic that's been evolving over a lifetime of visual experience. I have great admiration for the Flemish and Dutch painters of the 17th century and several contemporary artists who follow in those august footsteps, such as Hank Helmantel and Lorena Kloosterboer. "What constitutes integrity in a work of art?" is one question that guides my inquiry, as does my deepest-felt objective: to create works that are interesting and beautiful in equal measure. As I complete a work I continually stop and ask myself, is this truly interesting? is it beautiful? I'll leave the final assessment to others, since I don't think the answer is something I can know, but I do keep these questions uppermost in mind as a means of coaxing my work forward. I put my formal education to use (B.A. Goddard College, M.A. & Ph.D., Brandeis University) by teaching for several years as a Professor of Literature at Eastern Connecticut State University and in the MFA program at the University of Southern Maine. After a long career writing, teaching and publishing poetry, I work now as a full-time studio artist in a small New England village on the Connecticut River. On numerous occasions, I've exhibited my work in juried and in open group exhibits, and I've had three solo exhibits, two of those curated. My work has been shown throughout New England and in New York, and some of my paintings have been published along with my poems. During the period 2012 through 2016, my work has been featured as cover art on more than a dozen books and journals.

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