Plastic Wall Decorations

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

An assemblage made of several individual elements. A pair of early 19th century of gold gilded carved wood Russian columns. 18th Centur...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then physically 3D-printed it into a new representation fit for the XX-st Century. Eduard Locota has been working with digital 3D modeling software for over 20 years now; and this is the first time he has combined his digital 3D skills with his physical skills to give birth to this radical new collection, representing the past, present and the future. With the aid of your smartphone, you can transcend the physical counterpart of mirrors/sculptures into the metaverse. Each of the sculptures/mirrors has a new life with the aid of our augmented reality solutions. DIMENSIONS: H 110 CM / W 90 CM / DEPTH 10CM MATERIALS: GLASS MIRROR, JESMONITE, PIGMENTS, FIBERGLASS REINFORCEMENT SIGNED ARTWORK, WITH A CERTIFICATE OF AUTHENTICITY SIGNED AND DATED BY THE ARTIST. THE WALL HANGING SYSTEM...

“Por Una Cabeza Amor” is an original, one of a kind painting. Red, blue, green, black, yellow, gray, contemporary, acrylic on wood panel still life painting. Vibrant pops of color wo...

This painting forms part of 'Endless Wall', the most ambitious and conceptually significant project by Einar Höste, developed in 1986. Conceived as a monumental installation of 456 i...

This wall-mounted composition by Lars Englund dates from the 1980s and reflects his sustained investigation into structure, repetition, and surface. Built...

The painting depicts a golden sea waves. The author of the work is Juraj Huliak, a very talented young artist from Slovakia. Technique acrylic on cardboard, framed.

The image depicts a sea waves. The author of the work is Juraj Huliak, a very talented young artist from Slovakia. Technique acrylic on cardboard, framed in ...

The painting depicts a man dressed in a waterproof coat standing in a rainy night illuminated by yellow light from the street. The author of the work i...

The painting depicts a man sitting in a theatre, watching a horror drama. The artist has incorporated several skulls depicting the atmosphere of the play. The author of the work is J...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Abstract acrylic on canvas painting. Signed: Alexander Hecht, titled “Domino Chair” and dated 2010, backside of the canvas, canvas size 36" x 60" x 1.75" ...

This piece of art showcases large and small thrown paint abstracts: buildings, street signs, lamp posts, etc. Acrylic paint on canvas.

This work is signed, titled and dated "PLUM 2011" recto and verso of the canvas and signed PLUM on recto; canvas size - 24" x 18"; frame size 26" x 20” x 1.5" profile. Andrew Plum wa...

Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied. Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin. If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity. Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.” As our bodies, like the sea, are largely water, Colucci’s water visions...

This is an Original Mark Dickson painting and can be described as nothing short of a revelation in the realm of contemporary art. As one navigates through his vibrant interplay of colors—pinks, purples, blues, and greens—it becomes evident that his works are a bridge between abstract expression and a deep-seated Coloradan sensibility. From afar, the paintings resonate with the raw energy and abstract impulsiveness reminiscent of Adolph Gottlieb or Mark Rothko. However, upon closer introspection, Dickson's canvas unfolds a symphony, harmoniously blending his intuitive understanding of the Colorado landscapes with an almost Rothkoesque play of color and form. His artistry is a culmination of his academic sojourns, from the bustling art scene of Brooklyn's Pratt Institute to the scholarly corridors of the University of Denver. Yet, what stands out is his capability to transcend these teachings and manifest a unique narrative—one that reflects both the external world and the myriad landscapes of the human psyche. The choice of medium, notably pastel mixed with watercolors, oil washes, and graphite pencil, demonstrates a tactile indulgence in his craft. It's as if he's chiseling his memories, experiences, and observations of the Coloradan terrains and skies into each canvas. For the discerning eye, his works might also evoke the expansive color fields of Milton Avery. Yet, Dickson’s approach, particularly his relationship with color, is refreshingly instinctual, almost challenging the viewer to feel rather than dissect. In Mark Dickson's work, we're treated to an exhilarating dance of abstract brilliance juxtaposed with the tangible and intangible memories of Colorado's landscapes. In a sense, each painting becomes an invitation—to wander, to wonder, and to immerse in the art of profound introspection. The majority medium is pastel and a mixed media of watercolors, oil washes, and graphite pencil. Color is of primary importance to his work. His work shows the influence of artists Milton Avery(who used large areas of color) and Mark Rothko and Adolph Gottlieb (known for their work in the variations of color). Mark is fascinated with color and explores every aspect of its relationships. He feels his use of color is more intuitive versus analytical. Mark Dickson’s paintings, prints and monotypes are represented in private, corporate and public art collections nationally. Pratt Institute, Graduate School of Fine Arts, Brooklyn, New York, 1970 University of Denver, Graduate School of Art, MFA, Denver, Brooklyn, New York, 1973 Denver Art Museum, Colorado Annual, 1967 National Academy of Design, National Audubon Exhibition, New York Joslin Art Museum Exhibition of Colorado artists, Omaha, Nebraska Included in Outstanding and Noteworthy Americans, Bicentennial Edition, New York Chicago Botanical Garden, solo exhibition, North Brook Illinois Colorado Symphony Orchestra Association, limited-edition lithograph commission Broadway South West department store Commission; shopping bag and print. Award of Merit from American Institute of graphic arts, and Award of Distinction: "Creativity 86" Art Direction Magazine, New York Stables Art Center, Taos New Mexico, Artist of Taos Who's Who in American Art, 1990, New York Arts Student's League of Denver, Board of Directors O'Sullivan Art Center, Regis University solo exhibition, Denver Britto Central Gallery, solo exhibition, São Paulo Brazil, 2003 Amarillo Art Museum, permanent collection Amoco Oil Company, Chicago Federal Reserve Bank, Denver University of Colorado, permanent collection, Boulder, Colorado Garnett Corporation headquarters, Arlington Virginia IBM Corporation Miami Florida Las Vegas Federal Medical Center Kirkland Art Museum, permanent collection, Denver Northern Trust Bank, Naples, Florida Planes Art...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

Fornasetti panel, printed silk enclosed between 2 Plexiglas panels, Compagnia del Tabacco 1990. Below left the Fornasetti brand and Tobacco Company.  

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

Standing well over four feet tall, “Rosetta Stone I” by Douglas is a commanding fusion of abstraction, symbolism, and tactile luxuries. This one-of-a-kind, limited edition print tran...

*Displayed price is per piece; we can provide discounted prices for multiple pieces acquired. The sculptural group “Abstract Isometry” has been gravitating around fragmentation, s...

The Displacement Collection is a brand new long-term art program by Cometabolism Studio. As an expansion from the concept, mixing public and private spaces and blurring the boundary ...

Painted canvas, or decorative panel, representing a Japanese samurai on a stylized geometric background. French contemporary work of artists. Dimensions: H 160 x W 100 cm Referenc...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

Thierry Despont, best-known as a very successful architect, was also an accomplished artist. In his painting practice, when not analyzing the smallest, most detailed creatures of the...

Thierry Despont, best-known as a very successful architect, was also an accomplished artist. In his painting practice, when not analyzing the smallest, most detailed creatures of the...

Original artwork by artist Jean Olds. Olds’ work often combines bold colors and expressive brushstrokes to evoke a sense of movement and energy. Her pieces have been exhibited in gal...

Title: Metaphysical Fractions of Unified Reality Size: 60''x60'' Medium: Acrylic and Mixed Media on Canvas Description: Immerse yourself in the intricate patterns and ethereal symbol...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

HAROW 9mm, 2017 Aluminum, 9mm bullet casings 75 x 43.5 x 2 in  

Title: Cosmic Mirage: Unveiling the Illusory Nature of Reality Size: 60''x60'' Medium: Acrylic and Mixed Media on Canvas Description: The illusory nature of reality is unveiled, beck...

Title: Transcendent Surrender to the Cosmic Mirror Medium: Acrylic and Mixed Media on Canvas Size: 152cm x 152cm Caption: The cosmic mirror becomes a gateway to a dreamscape where co...

Untitled Monoprint by Beverly Pepper C. 1985. Signed and dated to lower right 'Beverly Pepper 1985' Beverly Pepper was an American sculptor known for her monumental works, site spec...

Title: Infinite Mirrors of the Unified Unconscious Medium: Acrylic and Mixed Media on Canvas Size: 152cm x 152cm Caption: Lose yourself in the infinite expanse of mirrored realities,...

Signed original acrylic by Urban Huchet (French, 1930-2014). This acrylic on canvas was painted in his Paris Studio. Au Cirque is a wonderful representat...

Past, Present and Future are intertwined in a single expression that bears the signature of Eduard Locota. An innovative collection in which classical sculpture, contemporary design elements and augmented reality coexist. From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then physically 3D-printed it into a new representation fit for the XX-st Century. Eduard Locota has been working with digital 3D modeling software for over 20 years now; and this is the first time he has combined his digital 3D skills with his physical skills to give birth to this radical new collection, representing the past, present and the future. With the aid of your smartphone, you can transcend the physical counterpart of mirrors/sculptures into the metaverse. Each of the sculptures/mirrors has a new life with the aid of our augmented reality solutions. DIMENSIONS: H 145 CM / W 65 CM / DEPTH 5CM ( LIMITED EDITIONS OF 99+4AP ) MATERIALS: GLASS MIRROR, JESMONITE, PIGMENTS, FIBERGLASS REINFORCEMENT SIGNED ARTWORK, WITH A CERTIFICATE OF AUTHENTICITY SIGNED AND DATED BY THE ARTIST. THE WALL HANGING SYSTEM...

Title: Convergence of Dreams and Truth Size: 60"x60" Medium: acrylic and mixed media on canvas Caption: Convergence of dreams and truth unfolds in a mesmerizing display of ethereal b...

This is a very vibrant & expressive work from Milan Klimes (1945 – 2013), Czech artist created in the 70s, it is a mixed technique on cardboard with a new cedar wooden frame. The ...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then...

Contemporary Belgian artist Diane Petry creates her own three layer canvas using pima cotton, gauze and fine paper. Raw edges and applied threads add texture and dimension. All artwo...

"Castles Cascade to Sand (Screw #5)", 2014, Financial newspaper collage, acrylic on canvas and board, 50 x 40cm by Gordon Cheung Screw Paintings Begun around 2014 they were originally throwaway byproducts from my paintings where I masked out areas for spray painting. Often I found the visual effects of screwed up newspaper fascinating and eventually was compelled to turn them into works of art. I came to understand them as a fascinating space to think about the actual and the virtual. Although I am too close to them to be able to see, some have told me that they look like aerial photographs of landscapes; a moonscape or perhaps the stargate sequence from Stanley Kubirck’s 2001. They are collaged...

"Migration (Screw #4)", 2014, Financial newspaper collage, acrylic on canvas and board, 50 x 40 x 2.5cm by Gordon Cheung Screw Paintings Begun around 2014 they were originally throwaway byproducts from my paintings where I masked out areas for spray painting. Often I found the visual effects of screwed up newspaper fascinating and eventually was compelled to turn them into works of art. I came to understand them as a fascinating space to think about the actual and the virtual. Although I am too close to them to be able to see, some have told me that they look like aerial photographs of landscapes; a moonscape or perhaps the stargate sequence from Stanley Kubirck’s 2001. They are collaged newspapers...

This original untitled abstract painting on paper by Cole dates to the 1990s and presents a compelling blend of figurative and abstract expression. The composition centers on a styli...

This is a very vibrant & expressive work from Milan Klimes (1945 – 2013), Czech artist created in the 70s, it is a mixed technique on cardboard with a new cedar wooden frame. The ...

Assembly and collage encased in an acrylic box soliders "Assembleage" by Spanish artist Antoni Miralda born 1942. Very good condition. Dimensions: 4" depth x 39" W x 56" H. This piec...

In this painting, the viewer is transported to a world where the past and future collide. At the center of the painting, we see a female medieval character, dressed in ornate armor a...

Great painting, very decorative piece. Signed, but signature unreadable. Circa 2010.  

Untitled - Acrylic on canvas by artist and designer Michael Oates Signed and dated to verso 'Michael Oates 2021'

Untitled - acrylic on canvas by artist and designer Michael Oates This work is signed and dated to verso 'Michael Oates 2021'

Vibrant painting by Ukranian-Dutch artist Oleg Bondarenko. Acrylic on canvas. Painted in Sweden 2021. Signed á ergo. I have no relationship to the color green - but I love to pai...

Untitled work by Michael Oates Acrylic on Canvas Painting measures 31" x 24" Framed 34" x 27" Signed and dated to verso

'Balloons' Acrylic on Canvas Painting measures 35.5" x 23.75" Framed 38.5" x 26.5"

In this John Brevard painting, we see a strange and surreal creature that seems to inhabit a multidimensional world. The overall theme of the painting...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move -- the plié -- and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered -- a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor -- a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum -- the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity -- movement directed inward to the core of one’s self -- a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions -- an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself -- the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to -- or moreso an extension of -- his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat-induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments -- moments that denote a certain frailty -- the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction -- and also the reverse of this -- a unique anthropomorphization of varying states of movement -- that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person -- one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s -- one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Very dynamic and modern painting with rich colours, natural wooden frame. Need we say more? This is a very radical expressive work done by a German artist. We have not been able to ...

The unique approach of Eduard Locota towards art, embrace the permeability between art and function. An unique lamp that is as much sculpture as it is design. By using coal as a man...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

"I Classici " - An innovative collection in which classical sculpture, contemporary design elements and augmented reality coexist. From extremely detailed 3D scans of the most import...