View allAll Photos Tagged fluidart
152 cm x 91 cm
60" x 36"
2020
urethane binders with carbon black pigment in dispersal water, and resin on panel
purchase inquiries to bruceriley@bruce-riley.com
Quid is painted on a 1 1/2' hollow core panel. Quid has a finish layer of resin over a pigment dispersion of carbon black that floats above another resin layer that covers the yellow background layer. When you enlarge the image above, it seems unfocused because of the delicate black pigment dispersion is casting a shadow in exact profile. The yellows used for the background have a green tint to them that plays with the natural warmth of the black pigment. You can see the transition from yellow to green to brown. This is a quiet painting
Quid can be hung in any orientation; vertical or horizontal.
Chewed and expectorated quids are indigestible stringy fibers from the roasted inner pulp of agave or yucca root that hold human DNA from earlier civilizations. Quid became a group of small paintings that I thought had reached an end until this piece came about.
✰ This photo was featured on The Epic Global Showcase here: flavoredtape.com/post/158330112710
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✰ Featuring Ilze ✰
-Explore @ilzelucerodesigns here and on instagram for more!
Loving the magenta on white #fluidacrylic #fluidart #flowarts #flowart #flowpainting
99 cm x 91 cm
39" x 36"
2010
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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30 cm x 30 cm
12" x 12"
2002 - 2020
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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201930.48 cm x 30.48 cm
12" x 12"
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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30 cm x 30 cm
12" x 12"
2002 - 2020
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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So far this one took me the least amount of time to finish. I think a quick decision and a prompt action are quite necessary for this medium.
36 cm x 30 cm
14" x 12"
2017
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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76 cm x 61 cm
30" x 24"
2012
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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30 cm x 30 cm
12" x 12"
2016
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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30 cm x 30 cm
12" x 12"
2016
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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76 cm x 61 cm
30 " x 24"
2012
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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91 cm x 81 cm
36" x 32"
2015
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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26 cm x 21 cm
10.25" x 8.25"
2005 - 2020
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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Jimmy is painted on a 1/2" medium density fiberboard panel (MDF). This painting hangs in either vertical orientation. When Jimmy is hung 180 degrees from the image here it is called "Upside Down Jimmy".
Jimmy has been in progress for fifteen years. My small work is painted on upcycled panels and usually start as a gesture or an experiment to see what will happen. These paintings get worked and reworked until the seem done.
I've been making some portraits of imaginary organisms the past year or so. They always start out as organic abstractions but somewhere along the line they pick up a personality that lends itself to being interpreted as a portrait. This painting Jimmy is one of these portraits.
My grandfather Eli had all kinds of pets, domestic and wild. He named a lot of these animals Jimmy.
61 cm x 61 cm
24" x 24"
2016 - 2017
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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Buzz Aldrin is painted on a 1 1/2" hollow core panel panel . The paint layer is 1/8 " thick.
Buzz Aldrin was originally a commission from a car company to make films of my paint spreading on two foot panels. The films were to be used as source material for touch screens in driverless cars. They wanted the human touch. I suggested setting me up with a studio in Paris for a year would yield some good source material. I've not heard back, The films can be seen on my website. www.bruce-riley
I got to keep all but one of the paintings per contract. This painting sat around for several years until 2019 when I reworked it. The paint layer is built up from the original commission with a loose, accidental hand. On top of the dried paint I applied a thin coat of resin with the intention of starting another paint layer. I however found I liked the painting as it is so I left it alone.
Here is a discovery on my third day playing with alcohol ink. It turns out that I could have more control over the ink if I want to. As you see on a portion of the painting I apply ink little by little and just wait patiently for it to dry. Of course, the free flowing character of the ink is still very attractive but it is quite unpredictable! 😅
30 cm x 30 cm
12" x 12"
2016
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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33.66 cm x 33.66 cm
13 1/4" x 13 1/4"
2006 - 2016
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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Phossy Jaw is painted on a 1/4" mdf panel . The paint layer is 3/8 " thick.
The first layer is a sample panel from a different project.. The details of the sample panel can be seen around the yellow edges of the painting. This painting has become a sort of portrait. The mouth parts exude a luminous lemon lime bubble that plants seeds into the green wheel in the background as it slowly rolls to the west.
The finish layer is resin that dripped over the edge. This smooth edge hides layer separation distorting image and light, I recommend holding the painting like an album cover when viewing.
40.6 cm x 40.6 cm
16" x 16"
2017 - 2019
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
Purchase inquiries to bruceriley@bruce-riley.com
Power Tool is painted on a 3/4" mdf panel . The paint layer is 1/8 " thick.
Power Tool is one of a group of found 16" square format panels. There is student art on the back of each painting.
Power Tool has the subtitle, "beast of bikini" in case the power tool > nuclear detonation > toxic masculinity reference breakdown were not enough. The surface of this painting has some texture that breaks the usual flat screen effect that is typical of my paintings. The blue central shaft vibrates softly against the glowing radioactive pink as the prevailing winds push to the west. There is a delicate pink pigment dispersion allowed to bloom a bit in the contrasting blue when it was still wet. It has a sweet shimmer.
✰ This photo was featured on The Epic Global Showcase here: ift.tt/1NAlU8N
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Lost island , 60 X 75 cm #canvas #contemporyartist #fluidpainting #fluidart #acrylic #abstract #abstractart #abstractdubai #fluidartist #emiratis #artdubaiartist #uaeartist #originalart #worldartdubai Plz check my contemporary abstract art at @worldartdubai in world trade center between 6th to 9th April
by @artwork_of_shadab on Instagram.
178 cm x 61 cm
70" x 24"
2013
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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40.6 cm x 40.6 cm
16" x 16"
2017 - 2019
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
Purchase inquiries to bruceriley@bruce-riley.com
Godhead glows in the dark. The gray image is shows the painting under normal light conditions. The bluish image is the painting shot in complete darkness.
Godhead is painted with a phosphorescent pigment. Before taking the image of Godhead in the dark it was charged with a light. It did glow that bright but the color in these images are off. The glow is more violet to the human eye.
Godhead is one of a group of found 16" square format panels. There is student art on the back of each painting.
About 90% of my paintings are given a title after they are done and documented. This painting received it's title after the fact. It did remind me of a natural form that is intrinsically what we refer to when we refer to god.
This painting is on a black background. It has a shinny resin finish.
203 cm x 122 cm
80" x 48"
2017
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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183 cm x 122 cm
72" x 48"
2010
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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20 cm x 15 cm
8” x 6”
2020
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
Purchase inquiries to bruceriley@bruce-riley.com
61 cm x 51 cm
24" x 20"
2015
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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36 cm x 30 cm
14" x 12"
2021
urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments on panel
purchase inquiries to bruceriley@bruce-riley.co
51 cm x 43 cm
20" x 17"
2017
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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61 cm x 61 cm
24" x 24"
2008 - 2020
mixed paint media on panel
purchase inquiries to bruceriley@bruce-riley.com
61 cm x 61 cm
24" x 24"
2011
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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2007 - 2019
26 cm x 20.32 cm
10.25" x 8.25"
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
Sold
36 cm x 30 cm
14" x 12"
2021
urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments on panel
purchase inquiries to bruceriley@bruce-riley.com