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No. 32 Painting

Chris Brandell

United States

Painting, Oil on Canvas

Size: 16 W x 20 H x 0.1 D in

Ships in a Crate

SOLD
Originally listed for $227

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ABOUT THE ARTWORK

This painting is green and orange with a bit of purple. It 8.5x7 inches and was painted with high quality Gamblin oil paint and mediums on primed linen. It was varnished with Gamvar, a clear gloss varnish which will protect it in an unframed environment. The painting is matted with an archival 4-ply white mat that is ready to hang in a standard 16x20 frame. The painting is signed and dated underneath the work and comes with a certificate of authenticity.

DETAILS AND DIMENSIONS
Painting:

Oil on Canvas

Original:

One-of-a-kind Artwork

Size:

16 W x 20 H x 0.1 D in

SHIPPING AND RETURNS
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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