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Architecture first drew me in and became a subject of my painting while attending graduate school. During my subsequent travels throughout Europe, I was awakened to the history that buildings carry with them, and the way past and present are in dialogue with each other within a structure. When I first came to the U.S., it seemed that everything about the architecture was completely new-and, by extension, the sense of history and culture, and what the buildings had to say. It was impossible to continue working in quite the same way. The experience of seeing skyscrapers for the first time had an enormous imaginative impact, and the effects continue to reverberate in my work, both in its content and in my evolving technique. The modernist style of the buildings seemed to demand a more modernist artistic approach, and I was inspired to create the "Urban Series". Here, my paintings began to be more abstract. My medium is oil on canvas, and working with color and texture is an ongoing exploration. Modern pointillism has been a revelation for me. Using a palette knife, I apply distinct dots of color and build a pattern, which ultimately is only seen as a pattern when the dots are blended in the eye and mind of the viewer, from a distance. Stippling is very time-consuming, but allows such subtle gradation of color, depending on how far apart the dots are placed, and creates great depth and dimension. I love how these techniques can be so expressive; how the textures allow me to convey, for example, the inner life of a building. Capturing the interior nature of subject matter that may seem, on its surface, prosaic and everyday is what I am after.This artwork is finished around the sides and doesn't require framing.
Architecture first drew me in and became a subject of my painting while attending graduate school. During my subsequent travels throughout Europe, I was awakened to the history that buildings carry with them, and the way past and present are in dialogue with each other within a structure. When I first came to the U.S., it seemed that everything about the architecture was completely new-and, by extension, the sense of history and culture, and what the buildings had to say. It was impossible to continue working in quite the same way. The experience of seeing skyscrapers for the first time had an enormous imaginative impact, and the effects continue to reverberate in my work, both in its content and in my evolving technique. The modernist style of the buildings seemed to demand a more modernist artistic approach, and I was inspired to create the "Urban Series". Here, my paintings began to be more abstract. My medium is oil on canvas, and working with color and texture is an ongoing exploration. Modern pointillism has been a revelation for me. Using a palette knife, I apply distinct dots of color and build a pattern, which ultimately is only seen as a pattern when the dots are blended in the eye and mind of the viewer, from a distance. Stippling is very time-consuming, but allows such subtle gradation of color, depending on how far apart the dots are placed, and creates great depth and dimension. I love how these techniques can be so expressive; how the textures allow me to convey, for example, the inner life of a building. Capturing the interior nature of subject matter that may seem, on its surface, prosaic and everyday is what I am after.This artwork is finished around the sides and doesn't require framing.
Architecture first drew me in and became a subject of my painting while attending graduate school. During my subsequent travels throughout Europe, I was awakened to the history that buildings carry with them, and the way past and present are in dialogue with each other within a structure. When I first came to the U.S., it seemed that everything about the architecture was completely new-and, by extension, the sense of history and culture, and what the buildings had to say. It was impossible to continue working in quite the same way. The experience of seeing skyscrapers for the first time had an enormous imaginative impact, and the effects continue to reverberate in my work, both in its content and in my evolving technique. The modernist style of the buildings seemed to demand a more modernist artistic approach, and I was inspired to create the "Urban Series". Here, my paintings began to be more abstract. My medium is oil on canvas, and working with color and texture is an ongoing exploration. Modern pointillism has been a revelation for me. Using a palette knife, I apply distinct dots of color and build a pattern, which ultimately is only seen as a pattern when the dots are blended in the eye and mind of the viewer, from a distance. Stippling is very time-consuming, but allows such subtle gradation of color, depending on how far apart the dots are placed, and creates great depth and dimension. I love how these techniques can be so expressive; how the textures allow me to convey, for example, the inner life of a building. Capturing the interior nature of subject matter that may seem, on its surface, prosaic and everyday is what I am after.This artwork is finished around the sides and doesn't require framing.
Architecture first drew me in and became a subject of my painting while attending graduate school. During my subsequent travels throughout Europe, I was awakened to the history that buildings carry with them, and the way past and present are in dialogue with each other within a structure. When I first came to the U.S., it seemed that everything about the architecture was completely new-and, by extension, the sense of history and culture, and what the buildings had to say. It was impossible to continue working in quite the same way. The experience of seeing skyscrapers for the first time had an enormous imaginative impact, and the effects continue to reverberate in my work, both in its content and in my evolving technique. The modernist style of the buildings seemed to demand a more modernist artistic approach, and I was inspired to create the "Urban Series". Here, my paintings began to be more abstract. My medium is oil on canvas, and working with color and texture is an ongoing exploration. Modern pointillism has been a revelation for me. Using a palette knife, I apply distinct dots of color and build a pattern, which ultimately is only seen as a pattern when the dots are blended in the eye and mind of the viewer, from a distance. Stippling is very time-consuming, but allows such subtle gradation of color, depending on how far apart the dots are placed, and creates great depth and dimension. I love how these techniques can be so expressive; how the textures allow me to convey, for example, the inner life of a building. Capturing the interior nature of subject matter that may seem, on its surface, prosaic and everyday is what I am after.This artwork is finished around the sides and doesn't require framing.
Architecture first drew me in and became a subject of my painting while attending graduate school. During my subsequent travels throughout Europe, I was awakened to the history that buildings carry with them, and the way past and present are in dialogue with each other within a structure. When I first came to the U.S., it seemed that everything about the architecture was completely new-and, by extension, the sense of history and culture, and what the buildings had to say. It was impossible to continue working in quite the same way. The experience of seeing skyscrapers for the first time had an enormous imaginative impact, and the effects continue to reverberate in my work, both in its content and in my evolving technique. The modernist style of the buildings seemed to demand a more modernist artistic approach, and I was inspired to create the "Urban Series". Here, my paintings began to be more abstract. My medium is oil on canvas, and working with color and texture is an ongoing exploration. Modern pointillism has been a revelation for me. Using a palette knife, I apply distinct dots of color and build a pattern, which ultimately is only seen as a pattern when the dots are blended in the eye and mind of the viewer, from a distance. Stippling is very time-consuming, but allows such subtle gradation of color, depending on how far apart the dots are placed, and creates great depth and dimension. I love how these techniques can be so expressive; how the textures allow me to convey, for example, the inner life of a building. Capturing the interior nature of subject matter that may seem, on its surface, prosaic and everyday is what I am after.This artwork is finished around the sides and doesn't require framing.

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View In My Room

New York Painting

Ekaterina Ermilkina

United States

Painting, Oil on Canvas

Size: 36 W x 48 H x 1.5 D in

Ships in a Crate

SOLD
Originally listed for $2,450

1856 Views

50

Artist Recognition
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Artist featured in a collection

ABOUT THE ARTWORK

Architecture first drew me in and became a subject of my painting while attending graduate school. During my subsequent travels throughout Europe, I was awakened to the history that buildings carry with them, and the way past and present are in dialogue with each other within a structure. When I first came to the U.S., it seemed that everything about the architecture was completely new-and, by extension, the sense of history and culture, and what the buildings had to say. It was impossible to continue working in quite the same way. The experience of seeing skyscrapers for the first time had an enormous imaginative impact, and the effects continue to reverberate in my work, both in its content and in my evolving technique. The modernist style of the buildings seemed to demand a more modernist artistic approach, and I was inspired to create the "Urban Series". Here, my paintings began to be more abstract. My medium is oil on canvas, and working with color and texture is an ongoing exploration. Modern pointillism has been a revelation for me. Using a palette knife, I apply distinct dots of color and build a pattern, which ultimately is only seen as a pattern when the dots are blended in the eye and mind of the viewer, from a distance. Stippling is very time-consuming, but allows such subtle gradation of color, depending on how far apart the dots are placed, and creates great depth and dimension. I love how these techniques can be so expressive; how the textures allow me to convey, for example, the inner life of a building. Capturing the interior nature of subject matter that may seem, on its surface, prosaic and everyday is what I am after.This artwork is finished around the sides and doesn't require framing.

DETAILS AND DIMENSIONS
Painting:

Oil on Canvas

Original:

One-of-a-kind Artwork

Size:

36 W x 48 H x 1.5 D in

SHIPPING AND RETURNS
Delivery Time:

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

Born in Russia, contemporary artist Ermilkina now lives and works in New Jersey. In 1998 she received her MFA from State Art and Industry Academy Saint Petersburg Russia. Her artworks have been featured in various solo and group exhibitions in international galleries and museum like The New York Museum of Contemporary Art, The Hunter Museum of American Art, Artspace Warehouse Los Angeles, David Parker NYC, Bluestone Fine Art Gallery Philadelphia, Art Leaders Michigan, Kunstwarenhaus Zurich, Art & Lef Netherlands, RFA Decor Florida, Neiman Marcus etc. Notable collectors include Kelly Clarkson, Los Angeles, CA, Bruno Jovanovic, France. Her dynamic artworks vibrate with color and motion, casting a candied haze across the cityscape. Ekaterina Ermilkina’s original abstract fine art paintings are created using a skillful combination of applying and removing oil paint with a palette knife on canvas. Her inspirations are the expressionistic magic skylines of big cities like Manhattan, Philadelphia, or Chicago filled with colorful skyscrapers. The urban scenic views are abstracted and rich with vivid and textured layers. Ermilkina’s emotional architectural patchwork and mosaic cityscapes radiate a life of balance and positive energy. Artist Statement I cannot remember a time in my life before I was a painter. Architecture first drew me in and became a subject of my painting while attending graduate school. During my subsequent travels throughout Europe, I was awakened to the history that buildings carry with them, and the way past and present are in dialogue with each other within a structure. When I first came to the U.S., it seemed that everything about the architecture was completely new—and, by extension, the sense of history and culture, and what the buildings had to say. It was impossible to continue working in quite the same way. The experience of seeing skyscrapers for the first time had an enormous imaginative impact, and the effects continue to reverberate in my work, both in its content and in my evolving technique. The modernist style of the buildings seemed to demand a more modernist artistic approach, and I was inspired to create the “Urban Series”. Here, my paintings began to be more abstract. My medium is oil on canvas, and working with color and texture is an ongoing exploration. Modern pointillism has been a revelation for me.

Artist Recognition
Artist featured in a collection

Artist featured by Saatchi Art in a collection

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