Yann Oehl

@yannoehl.bsky.social

The image shows a weathered, layered surface consisting of torn paper posters on a wall.

Left Section: Features a light, off-white paper background layered with a dark, irregularly torn paper fragment along the bottom. Above it sits a grey, rectangular paper fragment with jagged edges.

Right Section: Dominated by thick, dark black painted lines forming an upright, curved U-shape next to a small, solid black circular dot.Texture and Condition: The entire surface exhibits widespread staining, dark grey smudging, and visible tearing. A distinct vertical seam or gap splits the image down the center.

The piece is a detailed landscape study executed using pen, wash, and gouache over graphite on paper.It depicts a specific rock formation in Glen Finglas, Scotland, featuring gneiss rock with a stream rushing beneath it and foliage growing along the top.

The image shows a small, weathered wooden figurine mounted inside a dark wooden frame or box. The figurine is positioned horizontally, with its head on the left and its body extending toward the right. Its surface is heavily worn, with patches of faded orange or terracotta paint over dark wood, revealing grain and texture beneath. The head is rounded and split vertically down the middle, resembling a seed pod or simplified face. Two bulbous, rounded protrusions extend from the torso — possibly representing arms, legs, or abstract forms — and are painted dark brown or black, also showing signs of wear.

Behind the figurine, a rectangular panel displays horizontal stripes in alternating shades of white and pale orange or pink. A strong diagonal shadow cuts across the scene from upper left to lower right, cast by an unseen object — likely part of the framing structure or a curved wooden element visible along the right edge. This curved element appears to be part of the mount or display mechanism, arching over the figurine’s body. The lighting creates high contrast between illuminated areas and deep shadows, emphasizing texture and form without revealing additional context beyond the immediate enclosure.

A close-up, angled shot captures the head and upper torso of a pale, handmade figurine lying on its back. The figure’s face is painted with large, dark eyes featuring blue irises and thick, arched black eyebrows. The lips are painted a bright, glossy red, and the nose is small with a red tip. The surface of the figurine appears to be made of plaster or clay, showing a matte texture with minor cracks and imperfections. Behind the head, a second figurine is partially visible, distinguished by a mass of brown, fibrous material resembling hair or yarn. The figures rest against a yellow background and near a surface painted with red, black, and yellow geometric patterns.

Continuum | 42x36

The painting explores how history repeats itself within the human struggle, reflecting on how we adapt, resist, or merge into these ongoing cycles.

Visual Style: It showcases a distinct style of abstract figurative painting. It features densely intertwined, muscular human figures executed in a monochromatic palette of deep charcoal, slate gray, and muted blues.

Composition: The figures are trapped and bound within an unstable, transparent spherical or orbital structure, creating a powerful sense of tension, labor, and collective weight resting atop a dark, bowl-like base.

"Voices of Wind" Painting
Penny Santy, United States
Painting, Oil on Linen
24 W x 24 H in

An abstract oil painting depicts two stylized figures in deep pink or magenta garments against a pale cream and beige background. Strong, dark black outlines define the forms and create a sense of movement. The figure on the left is positioned forward, with an outstretched arm extending diagonally down toward the right side of the canvas. Subtle hints of peach and yellow tones appear in the upper sections of the figures, suggesting faces and shoulders, while a soft blue line runs vertically along the left edge of the composition.

An abstract mixed-media landscape painting dominated by horizontal bands of chartreuse green, olive, black, and white. The artwork features textured layers that suggest a rural terrain or field system.The top portion contains a thin strip of white sky with fine, sketchy charcoal lines suggesting distant hills, fences, or grass tufts. Below this, a prominent dark black band stretches across the upper third, transitioning into a multi-layered zone of muted olive and bright chartreuse green. These green sections are heavily textured with visible scrapings, stenciled patterns, and underlying dark patches.A sharp, jagged black shape cuts horizontally through the center, mimicking a path, river, or shadow. In the lower right quadrant, a large collage-like element of textured white and grey paper sits vertically, resembling a rocky outcrop or a structure. The very bottom of the piece is anchored by a dark, textured charcoal-grey or black band that runs the full width of the canvas. Subtle details, such as faint stitched-line markings on the far left, are scattered throughout the composition.

This image features a striking and surreal sculpture mounted against a deep red wooden wall. The base of the piece is a bottle, possibly glass or ceramic, decorated with a vibrant, decoupage-style collage of images. Prominently displayed on the bottle is a depiction of a dark-skinned deity or figure with a golden halo, adorned in traditional South Asian attire and jewelry, suggesting a cultural or religious motif. The bottle is sealed with a reddish-orange cap and sits on a simple, light-colored wooden circular base.

Emerging from the top of the bottle, where a cork would normally be, is an unusual arrangement of six mannequin legs. These legs, varying slightly in skin tone from pale to tan, radiate outward and upward in a starburst pattern, resembling the arms of a candelabra or the petals of a flower. Each leg is posed dynamically, with knees slightly bent and feet pointed, creating a sense of movement and whimsy. The juxtaposition of the sacred imagery on the bottle with the playful, almost absurd, proliferation of legs gives the sculpture a unique, thought-provoking character, blending the spiritual with the surreal.

Against a deep red, textured wall stands a weathered sculpture of a child-like figure with curly, dark-streaked hair and wide, blue eyes that gaze forward. The figure’s face and body show signs of age, with chipped paint and exposed material, giving it an antique, almost haunting presence. It is dressed in a draped, cloth-like garment that appears to be made of fabric or painted to resemble it, adding to the tactile, handcrafted feel of the piece.

The figure holds two plant-like forms: in one hand, a small branch with three silvery-green leaves, and with the other arm raised high, it grasps a long, pale wooden stem that extends beyond the frame, topped with two more leaves. The contrast between the delicate foliage and the aged, rustic figure creates a striking visual tension, evoking themes of growth, fragility, and endurance. Small metallic dots on the wall behind add a subtle decorative element, enhancing the composition’s depth.

The image displays a whimsical diorama featuring a stylized figure with a painted face, rosy cheeks, and dark hair, lying on its back atop a wooden surface. The figure appears to be made of clay or a similar material and is dressed in a dark brown garment. Its expression is serene, with closed eyes and a small smile, giving it an almost doll-like appearance. Beside the figure is a large, off-white skeletal structure resembling a pelvis and spine, positioned as if interacting with the figure. A small, detached bone lies nearby on a red surface, adding to the surreal composition.

In the background, another dark, abstract sculptural form rests on the wooden surface, possibly representing an animal or another symbolic element. The scene is framed by architectural details, including a glimpse of ornate molding and a blue-and-white striped border, suggesting the setting is part of a museum exhibit. The overall tone is playful yet eerie, blending elements of anatomy, art, and storytelling in a way that invites curiosity and interpretation. The lighting highlights the textures and colors of the objects, emphasizing their handcrafted quality.

This image shows a close-up view of a worn, reddish-brown wooden surface, possibly part of an old table, floorboard, or exhibit panel. The wood grain is visible beneath a layer of faded red paint or stain, which has chipped and scratched away in many places, revealing lighter wood underneath. There are numerous dark circular marks and spots scattered across the right side, resembling old nail holes, insect damage, or water stains, giving the surface a textured, aged appearance.

Scattered white specks and larger patches of exposed underlayer—possibly primer or bare wood—dot the left and bottom areas, suggesting long-term wear or accidental damage. A small, round, white object, perhaps a plastic cap or remnant of a fastener, sits near the bottom right corner. The overall impression is one of rustic decay, with layers of history visible in the scratches, stains, and imperfections across the surface.

The image shows a broken, egg-shaped object resting on a vivid red wooden surface. The shell is split open, revealing a small, pale figure inside that resembles a stylized animal or creature with elongated limbs and a rounded head. The figure appears to be made of a soft, fabric-like material and is partially covered with dark, coarse hairs or fibers that spill out from the broken shell.

The red background is textured, with visible brushstrokes and slight imperfections, suggesting it may be a painted wooden panel or wall. The overall composition evokes a sense of emergence or discovery, as if the creature has just hatched or been unearthed. The contrast between the stark white of the shell and figure against the deep red background creates a striking visual effect.

The image presents a close-up view of a white, square-grid mesh or screen that dominates the foreground. The grid lines are thick and slightly textured, creating a uniform pattern of small, open squares across the frame. Through the openings in the mesh, a blurred background is visible, featuring a gradient of colors. On the left side, the background appears darker, with shades of brown and black, while the right side transitions to lighter tones of beige, tan, and hints of green. There is also a small, indistinct spot of red visible through one of the squares near the center. The overall effect is one of looking through a barrier or filter, with the sharp focus on the grid contrasting with the soft, out-of-focus colors behind it.

The image captures a close-up, tilted perspective of a mannequin or doll's head resting against white, textured fabric. The figure features a smooth, peachy-toned face with a slight sheen, marked by smudges of brown or black dirt on the cheek and near the mouth. Its wide, green eyes are framed by heavy, painted black eyeliner that extends into a winged shape, while the lips are painted a vibrant, glossy red and are slightly parted. Dark, wavy black hair is visible at the bottom left, appearing stiff or styled, and a white, veil-like material with a fringed edge covers the top left portion of the head, with individual threads hanging down over the forehead and eye.

The head rests on or is wrapped in white fabric that resembles gauze or cheesecloth, characterized by a loose weave and frayed, tattered edges near the neck area. In the upper background, a dark object with a round, metallic button or rivet is partially visible against a lighter, off-white surface, adding to the scene's textured and somewhat theatrical composition.

This image displays an extraordinary 19th-century manuscript bifolium of the Quran. It is written in a bold, uniquely expressive variation of the Maghrebi script created by the Moroccan scholar, herbalist, and master calligrapher Muhammad Ibn Qasim Al-Qundusi (d. 1861 CE).

An open, antique manuscript shows a double-page spread featuring oversized, heavy Arabic calligraphy rendered in thick, solid black ink on weathered cream parchment.

Right Page: The page contains the Basmala (Bismillah al-Rahman al-Rahim), which translates to "In the name of Allah, the Most Gracious, the Most Merciful". The text is dominated by massive vertical strokes, particularly on the name of God (Allah), which takes up the center of the folio. The final line curves elegantly down the bottom edge.

Left Page: The page bears the first part of the Islamic creed (Shahada): Lā ilāha illā Allāh, Muḥammadun rasūlu Allāh, meaning "There is no god but Allah, Muhammad is the messenger of Allah". The lettering displays thick, swelling curves and dense geometric structures that interlock tightly down the page.Small lines of commentary or annotations in a fine cursive hand border the top edges of both folios. The outer edge of the bound book shows layers of reddish-stained paper.

$* Origin: Written during the final year of Ramanujan's life (1919–1920) after returning to India from England. * Rediscovery: Discovered by George Andrews in 1976 in the Trinity College library within a box of effects belonging to mathematician G. N. Watson. * Style: Contains over 600 mathematical formulas listed consecutively entirely without accompanying proofs. Mathematical Elements Visible * Pochhammer Symbols: Expressed implicitly via nested denominators such as $(1-aq)(1-aq^2)\dots$, a foundation of basic hypergeometric series. * Infinite Products: Quantities like $(1+q)(1+q^2)(1+q^3)\dots$ which are fundamentally tied to partition theory and theta functions. * Continued Fractions: Complex nested fractional expansions that Ramanujan famously used to defeat or surprise European contemporaries. * Editorial Notation: The pencil markings at the top right read "Add 1 to a 94' 15(11)", added decades later by researchers cataloging and establishing formal proofs for the text. Modern Applications * Black Hole Physics: The [mock theta functions](https://www.facebook.com/officialpurephysics/posts/mathematician-srinivasa-ramanujans-personal-handwritten-mathematical-notes-/1568799468238848/) outlined in these final notes are now applied to calculate the quantum entropy of black holes. * String Theory: Modular transformations and conformal field theories heavily utilize these structural identities.$

A vertical close-up shot shows a heavily weathered and textured dark gray wall covered with remnants of torn posters and paper.

Centered on the lower half is a large, rectangular white poster that is severely ripped and shredded. The tears form jagged, vertical, flame-like shapes, exposing the rough gray wall underneath. Above this large poster are three smaller, heavily degraded paper remnants. The top-middle remnant features a faint blue rectangular border resembling a stamp or sticker frame. The remaining scraps are mostly white, irregularly shaped, and peeling away from the surface. In the bottom right corner of the wall, a solid black square box completely covers a small section. The overall surface of the wall is coarse, mottled, and speckled with faint traces of pink, red, and white paint.

This original postwar woodblock print titled "Mountain" (Yama) by Sōsaku-hanga master Umetaro Azechi (1902–1999) showcases a stark alpine landscape rendered in the artist's signature simplified, geometric style. The composition features jagged, dark-gray foreground crags on the left that contrast sharply with a sweeping, light-gray snowy ridge and a central peak capped in blocky white snow. These heavy, abstracted terrain forms stand out vividly against a flat, vibrant teal sky, capturing a rugged, primitive essence of nature rather than a realistic perspective. Signed and numbered 3/100 in pencil along the bottom margin, the print also displays Azechi's distinctive round red artist seal in the lower-right corner of the image block.

This cyanotype print features a ghostly, incandescent silhouette of a spent lily surrounded by delicate wisps of feather fluff. Set against a rich, deeply saturated Prussian blue background, the organic subjects display beautiful variation in translucency, ranging from solid, glowing whites to soft, ethereal mid-tones that trace the intricate, sweeping lines of the flower and feathers. The composition is grounded on a crisp white sheet, framed by raw, expressive brushstroke borders at the top and bottom that highlight the hand-coated, artisanal nature of the light-sensitive emulsion.

A highly stylized landscape photograph created through a redscale experimental photography process, which casts a heavy, intense red and orange wash over the entire scene. On the left side, a river or canal reflects the fiery red hues of the sky, with the dark silhouettes of trees lining the distant bank. A vibrant, narrow streak of bright blue and white light cuts horizontally across the upper center of the frame, resembling a light leak, lens flare, or a chemical reaction on the film. On the right foreground, a dark, rocky or mossy bank is visible, partially rendered in deep shades of blue and shadow. Near the lower right edge, a distinct metallic ladder, similar to a swimming pool or dock ladder, extends upward from a concrete pathway or ledge alongside the water, creating a surreal and high-contrast composition.

An abstract, vertically oriented black-and-white composition features a dense, layered overlay of geometric shapes, textures, and brushstrokes. The imagery is highly fragmented and chaotic, suggesting multiple exposures or intersecting planes. Towards the left and right sides, dark, angled architectural forms with grid-like patterns resemble high-rise structures or building facades seen from a distorted perspective. These structures flank a central area where a horizontal, curved band of dark, heavily textured grids spans across the middle. The entire frame is filled with varying shades of gray, stark blacks, and bright whites, showing evidence of smudging, scraping, and fine vertical and horizontal lines that create a complex, textured mesh. Soft, smoke-like or cloud-like textures obscure the edges, particularly at the top and bottom borders, which are framed by a clean, thin white line inside a slightly darker margin.

This print features a composition of layered, stylized botanical elements and block-like shapes rendered in orange, green, yellow, purple, and brown tones against a cream-colored background.

Gray-scale marker drawing of a large tree along Weybridge Street in Middlebury, Vermont. A tree stands triumphantly, slightly to the right, three main trunks rising from its base. Shadows from upper limbs cross its lower trunks as it casts its own shadow along the front lawn of a business - line in white picket fence, its windows huddled in shade below angular asphalt roofs.

Gray-scale marker drawing of a street lined with houses in Brighton, Massachusetts. A large, imposing and leafless tree stands guard in front of a row of houses along a street leading to the horizon on the right. Light snow covers the lawns as a bright winter sun brightens up the side of each house, rising from the left and behind the viewer. While making the border for the sketch, the person doing the sketch dropped his marker and left a mark on the right, out of frame.

$Lithograph of underwater scene Eugen Ransonnet-Villez from his Sketches of the Inhabitants, Animal Life and Vegetation in the Lowlands and High Mountains of Ceylon: As Well as of the Submarine Scenery near the Coast Taken from a Diving Bell (1867) This illustration depicts a diving bell designed by Baron Eugen von Ransonnet-Villez in the 1860s. An Austrian diplomat and artist, Ransonnet used this device to become one of the first people to sketch and paint the underwater world from direct observation. As indicated by the labels in the diagram: $a$ Windows: Large glass panes that allowed the artist to see the coral reefs and marine life clearly. $b$ Weights: Heavy iron weights attached to the base and suspended below ($B$) to keep the bell upright and submerged.$c$ Air-tube: A hose connected to a pump on a boat ($e$) to provide a continuous supply of fresh air.$d$ Water Level: The internal air pressure kept the water from rising, allowing the artist to sit dry from the waist up while his legs remained in the water. Ransonnet used this bell during his travels to Ceylon (modern-day Sri Lanka). Before this, underwater scenes were typically drawn from imagination or specimens brought to the surface. His work, published in Ceylon (1867), offered the public some of the first authentic visual records of life beneath the sea.$

$A close-up photograph captures a broken white eggshell resting on a dark, textured surface against a dark background. The eggshell is fractured into two large, hollow pieces that remain connected, creating a sweeping, horizontal curve across the frame. The edges where the shell cracked are sharp, jagged, and irregular. Light illuminates the smooth, matte white inner and outer surfaces of the shell, casting soft shadows within its hollow curves. The background is dark and out of focus, except for the top-right corner where a faint, warm brownish-golden light creates a subtle gradient.$

Late Evening Looking Out of the Woods

Paul Klee, German (1879–1940)
1937

DIMENSIONS
19 1/2 × 15 1/2 in. (49.5 × 39.4 cm)
framed: 29 3/16 × 23 3/16 × 1 5/8 in. (74.1 × 58.9 × 4.1 cm)

NOTES
As the title indicates, this image alludes to the close of day when the broad palette of daylight no longer exists. Paul Klee was intrigued with the effects of evening light on perception and imagination and composed this image from only two colors, close in tonality. He skillfully balances positive and negative space, with the brown of the trees and the blue of the sky hovering next to each other in the twilight.

A minimalist, vertically-oriented fine art canvas features a stark light gray background with dynamic, expressive abstract marks in black charcoal. Thick, dark, horizontal and diagonal brush strokes slash across the right and lower-middle areas, accompanied by fine scratches, faint smudges, and scattered black flecks that create a textured, gritty composition.

This image showcases a wall-mounted sculpture titled "Bouquet of Five Leaves with Corn and Okra" (2024) by Detroit-born artist LaKela Brown. The piece is a monochromatic white relief made from urethane resin, featuring meticulously detailed casts of collard green leaves, corn cobs, and okra pods. Part of a broader practice Brown describes as "sculptural still-lifes," the work uses these specific plants to explore themes of nourishment, heritage, and collective memory within the Black diaspora. By casting these soul food staples in a style reminiscent of classical architectural adornment, Brown transforms everyday cultural artifacts into a lasting archive of personal and historical significance.

This is a small riso printed book, the cover is dark green and the text is interwoven in a pattern but it reads 'you are drowning in evil, there are angels everywhere', it is one of a series with this name by Sadie Pedersen Sharp who will be doing photocopier performances at the show.

A relief print (monotype) by Laetitia Lucht - the black ink is rolled onto a surface then the paper placed on it and drawn into gently to create the print. It also has fingerprints by the artist. The text reads 'would you still love me if I was me'.

A bookwork by Aga Kubish called The Shelter. It unfolds in a concertina style, printed relief print black ink on white paper, it has a series of red threads sewn through it - as if they are showing you a path or suggesting a way to find shelter in the woodlands.

$An upright terracotta female figurine from Bronze Age Greece is captured against a solid white background, showcasing a distinctly minimalist, stylized human form handcrafted from light-tan clay with dark-brown painted decorations. A slender, pillar-like neck tapers upward to a highly abstract, flattened head with a pointed protrusion reminiscent of a bird's beak. Bold, dark paint outlines the facial shape, while two circular painted dots indicate the eyes.The upper body expands into a wide, flat, circular disk shape that mimics the form of the Greek letter Phi (Φ). Thick, dark-brown painted bands sweep across the chest in flowing, wavy, and horizontal lines, suggesting stylized drapery, clothing textiles, or folded arms. Below, the torso tapers sharply down into a long, cylindrical pillar serving as a skirt, which widens slightly at the bottom to form a stable, circular base. Vertical lines of dark paint run down the length of this column, which features fine cracks, surface crazing, and a distinct horizontal fracture line running through its lower midsection.$

A vertically oriented, rectangular sheet of weathered, light brown paper is mounted on a larger backing of plain, beige paper. The inner sheet features Japanese calligraphy written in black ink, running in loose, expressive vertical columns from right to left. The brushwork varies in thickness and intensity, with some characters appearing bold and saturated while others are thin, fluid, and cursive. The characters exhibit the flowing, interconnected style of kana script (hentaigana), with lines occasionally looping or trailing off. The overall composition feels spontaneous yet balanced, centered on the aged paper with a wide, clean margin provided by the outer backing.

Object Number: 1924.65.33.D
Title: Large Architectural Stupa
Classification: Sculpture

Creation Place: East Asia, China, Inner Mongolia (Nei Menggu), Khara Khoto

Credit
Harvard Art Museums/Arthur M. Sackler Museum, First Fogg Expedition to China (1923-1924)

Shape & Structure: The sculpture is molded from unglazed, light tan clay into a distinctive bell or gourd shape. It features a wide, rounded base that tapers rapidly upward into a smooth, dome-like top section.Architectural Details: The middle tier of the piece is intricately decorated with a series of stepped terraces, ladders, and miniature pillars. These relief carvings replicate the grand multi-tiered architecture of full-sized Buddhist monument complexes.

Surface Texture: The exterior is coarse, earthy, and shows subtle signs of age and wear. Notable blemishes include small scuffs, a faint white chip or spot on the lower-left edge of the base, and minor accumulation of dust within the deep grooves of the steps.

Artistic Context: This piece represents a votive offering or a tsa-tsa (a miniature Buddhist clay stupa). In Buddhist traditions, objects like this were produced using molds in great numbers by monks or lay practitioners to accumulate spiritual merit. These miniature models mimic the grander hemispherical reliquary mounds (andas) that housed sacred remains, acting as highly portable personal devotional objects.

$An abstract, close-up photograph of severe urban decay displays a weathered, flat concrete wall heavily layered with torn, peeling paper remnants and dense graffiti. On the far left, a prominent fragment of red text reads "ALIV" in a clean, sans-serif font, starkly contrasting against the muted tones of the wall. The central composition is a chaotic palimpsest of shredded white and black posters featuring fractured typography—including the partial letters "sjn!" and "SCIST"—interspersed with a square, pixelated QR code fragment near the bottom. Splashes of vibrant turquoise spray paint and faded blue streaks mingle with scribbled black marker lines and dark, dripping stains that run vertically down the coarse surface. The paper remnants exhibit ragged, curling edges that create a physical sense of depth, with some patches showing significant water damage, brown scorching, and deep discoloration from environmental exposure. Every inch of the frame is filled with overlapping textures of scratched cement, crinkled paper, and layered paint, eliminating any sense of scale or horizon to focus entirely on the gritty, tactile remains of public expression.$

An abstract mixed-media artwork features a highly textured surface composed of layered, irregular geometric shapes in shades of ochre yellow, muted red, off-white, grey, and dark brown. The composition is built on a light beige or cream background, with visible cracks, lines, and overlapping patches that create a collage-like appearance. Thicker white shapes with dark, sketchy outlines dominate the upper left and bottom sections, while a large, rounded ochre shape anchors the center. Fine, dark drawn lines cross throughout the piece, connecting different colored blocks and adding intricate details like small grid patterns and stitched textures.

Auschwitz, Poland, 2003
Rosalind Fox Solomon

Featured in the photographic monograph The Forgotten, published by MACK (2021).

A permanent museum exhibition case at the Auschwitz-Birkenau State Museum containing the confiscated prosthetic devices of Holocaust victims.Medium: Square-format, high-contrast black-and-white photograph.

This square-format, black-and-white photograph captures a dense, chaotic pile of antique mechanical prosthetic limbs and orthopedic braces. The entire collection of artifacts is displayed inside what appears to be a glass museum display case. The background consists of a smooth, flat, light-toned wall split vertically by a subtle seam. A soft, pale cloth surface stretches beneath the items across the bottom of the frame. The lighting is direct and slightly stark, casting deep, dark shadows between the overlapping objects, which accentuates their metallic and rigid textures.

In the lower-right quadrant, two prominent prosthetic legs constructed from light-colored molded material dominate the foreground. The artificial leg further to the right is bent slightly at the knee, with its upper thigh socket flared widely open at the top. The artificial leg directly to its left stands more vertically, showing a mechanical hinge joint at the knee and ending in a rigid, boot-like foot structure at the base. To the left, another pale, hollow prosthetic limb rests diagonally, extending toward the lower-left corner. Tucked closely beside it near the center base of the pile is a small, pale, carved prosthetic hand with fingers slightly curled upward.Section

The background and center of the pile form a complex, tangled mound of various medical supports. This include dark leather straps, structural canvas bindings, buckles, and open metal framework braces designed to support spines, hips, or torsos. Several dark, lace-up leather boots attached to metallic leg irons sit near the upper left of the heap.

The image depicts the famous "Bee-faced Mushroom Shaman" from the prehistoric rock art sites of Tassili n'Ajjer, located in the Sahara Desert of southeastern Algeria.

The right side shows the actual, weathered neolithic rock painting found in the caves. The left side is a modern, clarified drawing by ethnobotanist Kathleen Harrison, famously featured as the frontispiece for Terence McKenna's 1992 book Food of the Gods.

The drawing features a striking hybrid form rendered in meticulous pencil detail, fusing anatomical elements of a heart (showing deep ventricles, valve structures, and complex fibrous networks) with the rough, organic textures of eroded rock, wood, or stalactites. The floating, suspended mass isolates these textures against a stark white background to highlight the surreal intersections of biology and geology.

This is a 2026 street art mural created by the artist Topsy, marking the 250th anniversary of the United States.

This abstract mixed-media painting features a layered composition of teal, pale yellow, and cream acrylic washes over an off-white background. Two prominent, elongated lime-green shapes with black charcoal outlines are positioned on the left, while a textured gold patch occupies the upper center. Scribbled red and black lines meander across the surface, occasionally forming loose loops or "X" marks. A fragment of printed text from a book is collaged into the upper right corner, partially obscured by thin veils of white and yellow paint. Visible brushstrokes, scrapes, and drips create a textured surface throughout the piece.

An abstract mixed-media painting titled "Swimming to My Own Choreography" blends cool aquatic tones with warm, earthy accents and textual collage. The composition is dominated by broad, expressive washes of cerulean and sky blue that suggest the fluid motion of water. In the upper center, a pale, rectangular form is outlined in thin, charcoal-like black lines, layered over textured patches of peach and soft yellow. A prominent piece of torn book page is collaged onto the right side, its printed text partially obscured by translucent teal paint, adding a narrative depth to the visual layers. Below the central form, a bowl-like shape vibrates with intense mustard yellow and golden brown, creating a focal point of warmth against the surrounding cool palette. Thin, gestural black lines meander across the canvas like loose threads or scribbles, mapping out a spontaneous, dance-like energy. The overall texture is rich and varied, showing visible brushstrokes, scraped paint, and overlapping semi-transparent glazes that give the artwork a sense of light and movement.

From: What Lives? A Meta-Analysis of Diverse Opinions on the Definition of Life

Fig. 3

Hierarchically sorted correlation matrix of respondent definitions, along with the corresponding dendrogram defining the linkage distance between definitions, highlighting eight distinct conceptual clusters

A close-up, black and white photograph showcasing an intricate geometric tattoo covering the side and back of a person's neck. The tattoo features a complex, repeating pattern of interlocking hexagon shapes that seamlessly shift in scale. Near the base of the skull, the lines are bold, thick, and form large geometric grids. As the design cascades down towards the base of the neck, the hexagons shrink and cluster together into a tighter spiral, creating a hypnotic, forced-perspective optical illusion. The surrounding background is solid black, emphasizing the stark contrast of the dark ink lines against the skin.

Attribution & Source

Artist: Grinddesign.Original Source: Pinterest posts from March 2015 link this specific piece to Grinddesign.

The artwork is a surreal digital poster titled "Dumbland" (2021) by Hungarian artist István Horkay. It is often described as a "Homage to David Lynch", referencing Lynch's series of animated shorts of the same name.

The central figure is a surreal, humanoid collage silhouette standing on a black rectangular pedestal. The head is a large, dark, textured sphere featuring a clownish red nose, large cartoonish eyes, and a "smile" made of white chains. Crowning the head is a small Mickey Mouse figure emerging from a blue vessel, surrounded by a semi-circle of white, dotted spheres and teardrop shapes.The body wears a red shirt with yellow circles (evoking Mickey Mouse's shorts) partially obscured by various text elements, including the word "LIBERTY" and a California license plate reading "2CAH673". The figure has thin, black limbs and gloved hands; the left hand holds a card with a red heart and a compass tool, while the right hand holds a similar card with text. To the left, a red, stylized coronavirus-like sphere floats in the beige background.

"Judge Friendly arrives wearing a black robe. 'I’ve never seen you in a costume before,' says Pat. 'This isn’t a costume,' says the Judge. 'All judges wear this at work so everyone in the courtroom knows who we are.' Connect the dots to form Judge Friendly’s robe."

A mixed-media screenprint styled like a page from a children’s coloring book. The central figure, an older man with white hair and a pink-tinted face, is shown as a connect-the-dots puzzle with numbers 1 through 13 marking the outline of his large, white robe. The background is a messy application of vibrant lemon-yellow and creamy beige paint. Several soft pink, circular "blobs" of paint are scattered across the canvas. To the right, a detailed tan bird is perched, and a blue gloved hand reaches out from the left. At the bottom, a short story explains that a judge wears a robe for identification in court, followed by instructions to complete the drawing.

An isometric paper collage sculpture by Dutch artist Boris Tellegen (also known as DELTA), featuring a complex, fragmented mass of torn and layered white and gray paper shards concentrated in the center of a white background. The geometric pieces are arranged using architectural isometric perspectives, creating dense, angular pockets of shadow and deep black negative space that give the artwork a three-dimensional, crumbling mechanical structure appearance.

The shot was captured by photographer Bobby Pokinger, who originally shared a vibrant, colorized version of this exact view on Flickr. The image highlights the incredibly dynamic, layered formations carved out by glacial meltwater, drawing viewers deeper into the heart of the ancient ice. Because the glacier flows relatively rapidly, transient features like these deep crevasses, tunnels, and hollow ice caves constantly shift and reshape, making every excursion truly unique

This stark, vertical black-and-white composition presents a dark, heavily textured environment dominated by an eerie, glowing central column that strongly evokes a towering skyscraper obscured by heavy rain, fog, or a digital glitch. The glowing structure is defined by sharp, high-contrast white light broken into a repeating grid of rectangular windows, which gradually softens and blurs into a hazy, motion-streaked gradient as it moves downward. Flanking this luminous form are dense, murky black zones filled with aggressive, vertical textures—resembling dripping water, scratched film emulsion, and fine dust artifacts—that frame the light and heighten the image's industrial, dystopian atmosphere. The intense contrast between the pure whites and deep, light-absorbing blacks creates a powerful sense of depth, transforming a flat graphic texture into a haunting, monumental architectural space.

The image depicts an abstract lithograph from John Walker’s 1973 series, "The Blackboard Suite". This piece, specifically identified as part of a set of twelve, features energetic, purposeful, and angular markings that evoke the aesthetic of white chalk on a black blackboard ground. The composition is characterized by a dense layering of calligraphic, zig-zag, and spontaneous "spindle-like" forms that fill the picture plane, reflecting Walker's interest in combining expressive gestures with structured motifs. Historically, this suite is a significant example of Walker's early experimentation with abstraction, created during a period when he was consistently innovating with materials and perspectives.

24x16" oil, mixed media on a panel.

A vertical abstract mixed media painting titled "Keeper" by Lynn Alker. A large, central expanse of textured, vibrant orange and red pigments dominates the composition. This warm field is contrasted by a block of pale sage green in the upper left and earthy ochre and dark brown tones at the bottom. The surface shows visible scraping and layered passages of paint, with small, bright orange-red highlights in the bottom right corner.

An abstract mixed-media painting titled "Night Out" features energetic, gestural brushstrokes in a palette of coral, peach, and soft yellow, punctuated by vibrant forest green and crisp white. Within the expressive layers, two stylized, elongated figures are suggested through bold coral and yellow shapes, their forms blending into a warm, light-peach background. Thin, fluid green lines meander across the 60x48” canvas, creating a sense of movement and connection between the abstract elements. Visible drips and varying textures throughout the composition give the artwork a raw, uplifting, and spontaneous energy.

A black and white photograph captures four separate charcoal drawings mounted in identical white mats, arranged in a balanced two-by-two grid configuration against a solid, light-colored gallery wall. Each piece displays a single human figure from the waist or torso up, rendered in a heavily textured, high-contrast monochrome style. Tiny metal pins or clips hold the top and bottom edges of each mat flat against the wall surface.

The top-left drawing depicts a figure in dark pants and an exceptionally dark, voluminous top, facing forward with hands brought together near the midsection against a darkly smudged backdrop. To its right, the top-right work shows a standing figure in a lighter, oversized, zippered or buttoned jacket over pants; the character holds their hands up toward their chin area, contrasted against a clean, pale background. On the bottom left, the figure angles their upper body downward and away, wearing a rumpled, loose jacket and pants while bringing both hands low in front of their waist. Finally, the bottom-right portrait features a centered figure from the mid-torso up, clothed in a dark, textured long-sleeved shirt with hands neatly clasped together at the bottom edge, framed by a completely shaded, expressive background.

A vertical black and white photograph captures a contemporary sculpture that resembles a plume of thick, dark liquid frozen in mid-air. The central form is a dense, undulating black shape with a glossy finish, featuring various bulbous and swirling textures that evoke the look of ink billowing underwater or rising smoke. This dark mass tapers toward the bottom, where it appears to sprout from or connect to a stark white, flower-like base with thick, rounded petals or finger-like protrusions reaching upward. The entire piece is set against a minimalist, bright white background with subtle horizontal architectural moldings, emphasizing the dramatic contrast between the obsidian-colored fluid form and its pale environment.

The image shows a spread from the At This Rate educational and environmental booklet. It is part of a collaborative publishing campaign designed by graphic designer Matt Willey and photographer Giles Revell.

An open, two-page book spread lies flat against a solid white background, creating a stark and minimalist composition. The left page features a solid black background dominated by a giant, stylized number "3" printed in crisp white. This numeral is so large that it fills almost the entire height of the page, with its bottom curve cut off by the lower edge of the paper. A single line of very small white text runs horizontally across the bottom section of the number.
The right page contrasts sharply with a solid white background. Centered on this page is a detailed, vertical black-and-white photograph of dried, decaying leaves bundled together. The image captures the fragile, skeletal structures of the plant matter, highlighting the intricate network of veins and layered, transparent textures. This creates an organic, sculptural shape that stands out against the clean background.

$Artist: Karen McRae.Publication Date: January 11, 2012.Technical Details: The series features natural ice formations captured with a Nikon FE film camera and scanned directly from physical prints hand-developed in a darkroom This vertical black-and-white photograph features a jagged, elongated mound of natural ice crystals running diagonally down the right side of the frame. The ice is a chaotic mix of sharp shards, layered geometric plates, and frosted surfaces. Some areas are crystal-clear and glass-like, while others appear cloudy and opaque, capturing a highly tactile, fractured texture. The ice mound rests on a smooth, dark, textureless surface that occupies the left side of the image, creating a strong visual contrast. Bright lighting hits the right side of the ice, turning the frozen edges brilliant white, while micro-shadows accent the depth of the crystals. The artist is unknown, and the image functions as an untitled macro study of winter frost. If you want to explore further, let me know if you would like to know the science behind ice crystals or a comparison to similar abstract nature photography.$