Uncategorized May 16, 2018
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Enter a Virtual Reality Study (II), Oil paint, geometric powder, nail polish, resin and refraction gradients on canvas, 9 x 12 inches

LOCATING FORM IN VIRTUAL SPACES: A Painting & Digital Media Exhibition at the Nook Gallery Los Angeles

Opening May 11    2:30- 5:00 PM

May 11 – July 8

Curated by Janna Avner and Richelle Gribble

Locating Form in Virtual Spaces features paintings and prints by Ian Hagarty, Jacqueline Bell Johnson, Eric Dwight Hancock, Kate Parsons, Janna Avner, and virtual reality and video art by Atley Loughridge and Kristin McWharter. The themes of this exhibition consider how form is constructed in virtual reality and digital renderings to probe the imagination and elicit emotional and psychological responses. The effect of this curation is technical: paintings may glow like computer screens and computer screens may glow like paintings. Event Information.



The Other Art Fair, March 28 – 31 2019

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canvas.saatchiart.com  Please email the artist for further information.



Virtual Reality headset, re: pixellation, holographic pigment, oil, spray paint, resin. 48 x 96 inches All prices available by request


















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Flower Glitch, oil on canvas.
18 x 24 inches





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Color blocking, oil paint on canvas, 16 x 20 inches






Closeup Detail: Study of Landscape as Virtual Space





Closeup Detail: Study of Landscape as Virtual Space





Closeup Detail: Study of Landscape as Virtual Space





Study of a Landscape as Virtual Space (I), Oil on canvas, 36 x 24 inches







Study of a Landscape as Virtual Space (II), Oil on canvas, 24 x 16 inches





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Light as Landscape: Dense Forest (II)
Oil on canvas, 16 x 24 inches






Virtual Landscape, geometric pigment and oil on canvas, 20 x 20 inches





Side view: in natural light







The Analysand’s Chair
Oil on canvas, 12.5 x 16.5 inches





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Surrealist Painting Technique Imitating the Glow of Computer Screens. From Fragmented Ontology series. Oil on canvas


I am a fine arts painter from Los Angeles. I might be considered a "painter's painter," yet I disavow the hierarchy of art making in which this terminology is normalized and reinforced by the conceptual marketplace and pluralistic discourses. I've come to realize that there are no problems in "painting as a discourse," per se; there are problems in the verbalizing pursuit to deconstruct and understand it through art institutional pedagogy.

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