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The Leavening Print

Chris Brandell

United States

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$120USD
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About The Artwork

An original abstract landscape/seascape, acrylic painting on stretched canvas that is 48x48x1.5. It is blue with yellow highlights. The edges are painted so it can be hung unframed and it is ready to hang with hanging wire and hardware. It would also be beautiful framed. This painting has a peaceful but intense feel with many layers over top of one another. It is signed, titled and dated on the back. It was inspired by the distant horizon as the sun disappears and the darkness rises.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:10 W x 10 H x 0.1 D in

Size with Frame:15.25 W x 15.25 H x 1.2 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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