http://www.veruspainters.org Wed, 28 Jul 2010 20:40:58 +0000 http://backend.userland.com/rss092 en Sight & Sound: Music and Abstraction in Australian Art John Aslanidis June 12 - September 19, 2010 The Arts Centre, Melbourne, Australia Women’s History Month Print Invitational Lorraine Williams March 11 - March 31, 2010 VanDeb Editions, New York BLACK MAGIC Peter Köhler January 9 - February 7, 2010 Galleri Magnus Karlsson, Stockholm, Sweden Gallery Selections, Small Scale Works John Aslanidis, Shinsuke Aso, Richard Bell, Susann Brännström, [...] ]]> http://www.veruspainters.org/exhibitions/ 526 West 26th Street Room 902 New York, New York 10001 USA Tel : (212) 741-9141 Required contact info: Enter your full name [...] ]]> http://www.veruspainters.org/contact/ Pardes Rimmonim, 2004, 68 x 72 inches, Acrylic on canvas For myself, I find essential painting to be confrontational, not anesthetizing. It brings you to yourself. It is the opposite of escapism. The only “meaning” of painting is that we’re alive. Aware of this reality, we are one-hundred-percent responsible for the attendant introspective awe that accompanies [...] ]]> http://www.veruspainters.org/167 Skeletal History (Pink), 2008, 20 x 40 inches, Acrylic on canvas For myself, I find essential painting to be confrontational, not anesthetizing. It brings you to yourself. It is the opposite of escapism. The only “meaning” of painting is that we’re alive. Aware of this reality, we are one-hundred-percent responsible for the attendant introspective awe that [...] ]]> http://www.veruspainters.org/165 Dangling In the Tournefortia, 2006, 64 x 80 inches, Acrylic on canvas For myself, I find essential painting to be confrontational, not anesthetizing. It brings you to yourself. It is the opposite of escapism. The only “meaning” of painting is that we’re alive. Aware of this reality, we are one-hundred-percent responsible for the attendant introspective awe [...] ]]> http://www.veruspainters.org/162 Resplendent Effects, 2005, acrylic on canvas, 66 x 76 inches For myself, I find essential painting to be confrontational, not anesthetizing. It brings you to yourself. It is the opposite of escapism. The only “meaning” of painting is that we’re alive. Aware of this reality, we are one-hundred-percent responsible for the attendant introspective awe that accompanies [...] ]]> http://www.veruspainters.org/81 At Lilac Evening, 2004, acrylic on canvas, 65 1/2 X 79 inches For myself, I find essential painting to be confrontational, not anesthetizing. It brings you to yourself. It is the opposite of escapism. The only “meaning” of painting is that we’re alive. Aware of this reality, we are one-hundred-percent responsible for the attendant introspective awe [...] ]]> http://www.veruspainters.org/18 The Small Perceptions, 2004, acrylic on canvas, 66 x 78 inches For myself, I find essential painting to be confrontational, not anesthetizing. It brings you to yourself. It is the opposite of escapism. The only “meaning” of painting is that we’re alive. Aware of this reality, we are one-hundred-percent responsible for the attendant introspective awe that [...] ]]> http://www.veruspainters.org/82 At Certain Moments Eternal, 2006, acrylic on canvas, 59 X 96″ inches For myself, I find essential painting to be confrontational, not anesthetizing. It brings you to yourself. It is the opposite of escapism. The only “meaning” of painting is that we’re alive. Aware of this reality, we are one-hundred-percent responsible for the attendant introspective awe [...] ]]> http://www.veruspainters.org/83 A Strange Truth Enter the Universe, 2004, acrylic on canvas, 63 X 82 inches For myself, I find essential painting to be confrontational, not anesthetizing. It brings you to yourself. It is the opposite of escapism. The only “meaning” of painting is that we’re alive. Aware of this reality, we are one-hundred-percent responsible for the attendant [...] ]]> http://www.veruspainters.org/84