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This painting is on stretched, un-dyed (natural) muslin. It was inspired by my interest in architecture, but also my travels out west in Utah and Nevada - especially the clarity and sparseness of that landscape. Drawing on the arch-shape, which could suggest a passageway, the painting speaks to architectural forms. The transparency of the muslin, which reveals the structure of the support behind the stretched surface, reiterates the feeling of a possible passageway, while also allowing that structure to factor into the image ultimately presented by the painting.
This painting is on stretched, un-dyed (natural) muslin. It was inspired by my interest in architecture, but also my travels out west in Utah and Nevada - especially the clarity and sparseness of that landscape. Drawing on the arch-shape, which could suggest a passageway, the painting speaks to architectural forms. The transparency of the muslin, which reveals the structure of the support behind the stretched surface, reiterates the feeling of a possible passageway, while also allowing that structure to factor into the image ultimately presented by the painting.
This painting is on stretched, un-dyed (natural) muslin. It was inspired by my interest in architecture, but also my travels out west in Utah and Nevada - especially the clarity and sparseness of that landscape. Drawing on the arch-shape, which could suggest a passageway, the painting speaks to architectural forms. The transparency of the muslin, which reveals the structure of the support behind the stretched surface, reiterates the feeling of a possible passageway, while also allowing that structure to factor into the image ultimately presented by the painting.
This painting is on stretched, un-dyed (natural) muslin. It was inspired by my interest in architecture, but also my travels out west in Utah and Nevada - especially the clarity and sparseness of that landscape. Drawing on the arch-shape, which could suggest a passageway, the painting speaks to architectural forms. The transparency of the muslin, which reveals the structure of the support behind the stretched surface, reiterates the feeling of a possible passageway, while also allowing that structure to factor into the image ultimately presented by the painting.
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White Shield I Painting

Aschely Cone

United States

Painting, Acrylic on Soft (Yarn, Cotton, Fabric)

Size: 60 W x 96 H x 1.8 D in

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Originally listed for $5,050
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1267 Views
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About The Artwork

This painting is on stretched, un-dyed (natural) muslin. It was inspired by my interest in architecture, but also my travels out west in Utah and Nevada - especially the clarity and sparseness of that landscape. Drawing on the arch-shape, which could suggest a passageway, the painting speaks to architectural forms. The transparency of the muslin, which reveals the structure of the support behind the stretched surface, reiterates the feeling of a possible passageway, while also allowing that structure to factor into the image ultimately presented by the painting.

Details & Dimensions

Painting:Acrylic on Soft (Yarn, Cotton, Fabric)

Original:One-of-a-kind Artwork

Size:60 W x 96 H x 1.8 D in

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Using the arch and the shield as recurring motifs, Aschely's paintings investigate notions of doubleness – entry and obstruction, patterns overlaid and intersecting, acts of veiling. Pivoting between arch/void or shield/form, the works unfold as their patterned surfaces veil, collapse and expand. Aschely graduated from the Hoffberger School of Painting, at the Maryland Institute College of Art in Baltimore, MD. Her work was featured in the 2016 New American Paintings MFA annual edition. Her awards include a MICA matching scholarship for study at Skowhegan, the SMCM-MICA Artist House Teaching Fellowship, the Hamiltonian Fellowship and The Henry Walters Traveling Fellowship. She is currently represented by The Hamiltonian Gallery in Washington, D.C.

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