Ghislaine Howard

'Cordelia' Figurative Interior painting of a woman in a warm orange, black

'Composition Bleu' by Claude Venard exemplifies Venard's distinctive post-cubist style, characterised by geometric abstraction and bold use of colour. Venard employed a striking blue...

'Nature Morte au Toit' by Claude Venard is a 20th Century Post Cubist painting of Venard's Paris studio. Combining vibrant colours and geometric forms, this charming interior paintin...

'Tour Eiffel, Sacre Coeur' by Claude Venard is an interior, still life painting featuring the Paris rooftops with the Eiffel Tower, Sacre Coeur and the Moulin de la Galette in the ba...

‘Making the Next Move’ is a very typical example of Schroder’s work. The figures sitting around the table debating their ‘next move’ transports the viewer to the scene. You wonder wh...

The interconnectivity between one's waking life and one’s dreams offers a point of convergence between the real and the surreal, the ordinary and the absurd. Daily observations are recycled into nightly visions, and consciousness becomes an in-between state. Experiences turn into memories which turn into dreams which turn into experiences. This piece appears as part of two-person exhibition with Jason Stout at Channel To Channel...

Jennifer unveils her bare breast, luring her unsuspecting rapist towards her so that she may seek her revenge. Should her morals be questioned? It makes no difference to her animal companion. This dog’s family was murdered and his response is to bite on a pair of dentures. Morality is exclusive to humanity. Nature simply carries forward. Featuring the films "I Spit on Your Grave", 1978, "High Tension", 2003 and "Angst", 1983. Georgia Hinaris I Spit on Your Angst oil on panel 28h x 56w in 71.12h x 142.24w cm GHS012 Horror films are the most profound and visceral of films, garnering the most extreme responses: vehement hatred and cultish admiration. Horror elicits a controlled neurosis while exposing the rejected weaknesses and brutalities of humanity. I embrace the power of cinema and its ability to alter perception, as it is media that is a reflection of our primordial desires. I’m fascinated by concepts involving the limits of human perception, the ambiguity of morality in relation to nature, the paradoxical nature of reality, and the human struggle to reckon with uncertainty. Humans bear the burden of being as we are, all caught in a flux of unbelievable cognitive abilities and animalistic instincts. Every painting is in its own universe and I cater to it. Nothing is precious. Chaos is embraced. Georgia Hinaris, b. 1993, Chicago, Illinois Education 2019 MFA Painting, New York Academy of Art, New York, NY 2015 BFA Painting, Pratt Institute, Brooklyn, NY Exhibitions 2020 Summer Exhibition, Flowers Gallery, New York, NY Summer Juried Exhibition, Prince Street Gallery, New York, NY 2019 Di Donna Gallery, New York, NY AXA Art Prize, San Francisco Art Institute, San Francisco, CA, Richard Gray...

Inspired by a still from the 1977 horror film, "Rabid". This is the division of morality. A portrait of an individual cast mostly in shadow. The only portion of his face hit with light has no eye, leaving him to only see through his darkness. The bold heavy brushstrokes of this painting give an abstract quality where the shadows and light are transformed it into a dynamic and vibrantly alive scene. Georgia Hinaris Rabid oil on panel 18h x 18w in 45.72h x 45.72w cm GHS010 Horror films are the most profound and visceral of films, garnering the most extreme responses: vehement hatred and cultish admiration. Horror elicits a controlled neurosis while exposing the rejected weaknesses and brutalities of humanity. I embrace the power of cinema and its ability to alter perception, as it is media that is a reflection of our primordial desires. I’m fascinated by concepts involving the limits of human perception, the ambiguity of morality in relation to nature, the paradoxical nature of reality, and the human struggle to reckon with uncertainty. Humans bear the burden of being as we are, all caught in a flux of unbelievable cognitive abilities and animalistic instincts. Every painting is in its own universe and I cater to it. Nothing is precious. Chaos is embraced. Georgia Hinaris, b. 1993, Chicago, Illinois Education 2019 MFA Painting, New York Academy of Art, New York, NY 2015 BFA Painting, Pratt Institute, Brooklyn, NY Exhibitions 2020 Summer Exhibition, Flowers Gallery, New York, NY Summer Juried Exhibition, Prince Street Gallery, New York, NY 2019 Di Donna Gallery, New York, NY AXA Art Prize, San Francisco Art Institute, San Francisco, CA, Richard Gray...

Buddhist Monks in Prayer The young monks are bowed in devotional meditation in a Buddhist Prayer Hall. The beautiful harmonized environment and the sacred atmosphere allow serenity a...