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high tide Painting

Annie Sailer

United States

Painting, Acrylic on Canvas

Size: 36 W x 36 H x 2.3 D in

Ships in a Crate

This artwork is not for sale.

467 Views

21

ABOUT THE ARTWORK

abstract Materials include acrylic and Flashe. Hanging hardware not included.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Canvas

Original:

One-of-a-kind Artwork

Size:

36 W x 36 H x 2.3 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I am a visual artist and modern dancer / choreographer. Painting and dancing have always been essential parts of my life, informing each other while remaining separate practices and providing me with a sense of self and enormous joy. I was born in Princeton, New Jersey on April 11, 1951 and grew up in Washington, DC. My paintings, and found-object installations are grounded in a Post-Abstract Expressionist / Minimalist aesthetic. They are informed by the materials themselves, color and spatial relationships, emotional and spiritual realms of the human condition, popular culture, fashion, and by my process itself. Most of my work is completely abstract while my figurative and portrait paintings refer to issues of identity and archetypal human drama. As director of Annie Sailer Dance Company I create the costume and set designs for my choreography which reflect my paintings and installations. Artists influencing my work include Willem de Kooning, John Chamberlain, Richard Tuttle, Keith Haring, Jean Michel Basquiat, Cecily Brown, Jessica Stockholder, Katherine Bernhardt, Marlene Dumas, and Sarah Sze. My paintings are also influenced by my biological father George Sears Greene who was an Abstract Expressionist painter and part of the New York and Hamptons art scene. From the time I was sixteen when I first met him, we spent my vacations together visiting galleries and museums. I hung out with him while he painted and told me gossipy, sordid stories about the major players in the New York art world. During our time together we often discussed why a painting "worked" and why "it didn't". As a result, at an early age I began to think in terms of "seeing and balancing" forms and space.

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