-
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 201 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 202 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 203 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 204 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 205 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 206 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 207 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 208 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 209 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 210 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 211 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 212 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 213 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 214 / 1896 sold -
Jonathan Ferrara - Certificate of Authenticity, pictured. Damian Aquiles "Infinito Tiemp, Infinito Color, Infinito Memoria, Infinito Destino" 2002 Collection of 55 elements - hand chiseled metal from Russian, American, Chinese, Hungarian Cars and Cuban water tanks. Roughly 38”x 75” "This installation by Cuban artist Damian Aquiles is representative of the Cuban experience on many levels. Hand cut and chiseled from Soviet era automobiles and Cuban water tanks, this work reflects the lack of tools and traditional materials in Cuban society. The variety of colors symbolizes the wide range of people found in Cuban culture from white, Spanish to black African and everything in between. Additionally, the overall image is symbolic of the government call for a revolutionary meeting where people are called to march for a purpose, an idea, or an announcement by the government. Then men walking in the opposite direction are implications of this obvious and simple power of the message stunningly achieved." 215 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 230 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 231 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 232 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 233 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 234 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 235 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 236 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 237 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 238 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 239 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 240 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 241 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 242 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 243 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 244 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 245 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 246 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 247 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 248 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 249 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 250 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 251 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 252 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 253 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 254 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 255 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 256 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 257 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 258 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 259 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 260 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 261 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 262 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 263 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 264 / 1896 sold -
“I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone’s lips. My process of “recycling” them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers. As the butterflies alight on the walls of my studio, they lead into an exploration of formal, painterly issues. They function both as marks in these abstract, three-dimensional “paintings,” and as actors in curious narratives. Finally, the butterflies operate symbolically, and I try to develop a conceptual unity between materials, process, and imagery: metamorphosing littered beer cans into flocks of butterflies mirrors the act of transformation and rebirth that symbolize across all cultures.” - Paul Villinski Paul Villinski Memo (Night) - 9 butterflies' total. 2017 Medium: Metal (aluminum cans), Soot, Wire, Found Objects 265 / 1896 sold
Photos 201 - 300 of 1896
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