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Element Series: Black Iron + Blue 13

Erica Iman

$2,900

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Element Series: Black Iron + Blue 13

Artwork Tags:

The height of this black iron painting allows for the fullest expression of the poured black iron's meandering tendency, creating a black waterfall, or series of waterfalls. This is a size that I only recently started painting, and I really like the results. Several of these tall and narrow paintings have found just the right place within open, modern architecture. The powdered black iron oxide used in my black ceramic glaze is also used to create my paintings. I mix the iron with water in a variety of dilutions from mostly water to an almost paste-like quality. I paint by pouring the iron onto wood panel that has been primed, sanded and prepped with absorbent ground. During the process, I am responding to the shapes, horizon lines, and sedimentary lines that naturally form, much like fractals, branches of a tree, or a root structure. The painting must stay wet while I work in layers and is sprayed with varnish before an isolation coat of acrylic medium is applied. They are finished with a matte UV protectant varnish. The paintings are textured and tactile and explore similar form, edge, and three-dimensionality as in my ceramic work. I am drawn to a sense of timelessness, the origin story of a stone, a glacier, or cracked desert earth - something that roots us in our existence beyond what humans have constructed.

18
60"H × 24"W × 1.75"D
Painting
Watercolor
Abstract
Conceptual
Unframed
My paintings are created using pure powdered black iron oxide (originally used in my ceramic glazes). I mix the iron with water in a variety of dilutions from mostly water to an almost paste-like quality. I paint by pouring the iron onto a wood panel that has been primed, gessoed, sanded and prepped with absorbent ground. I pour the mixtures of iron onto a nearly vertical panel, “painting in the air” to create forms, horizons and layers. As the iron moves down the surface of the panel, it naturally creates delicate, textured, sedimentary or fractal-like structures. The painting must stay wet while I work to keep the material active while I build up multiple layers to create depth and atmosphere. After drying, the work is sprayed with varnish, sealed with an isolation coat of acrylic medium, and finished with a matte UV protectant varnish.
Yes
Yes
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STATEMENT

I work intuitively while making, responding to the form, surface and overall feel, ripping at edges and emphasizing natural cracks. Many of my techniques come from mimicking nature's processes such as freeze and thaw, extreme moisture and drought, and erosion. Intuition and an inner, centered emotion both play a large role during the creation of my work. I push back and forth between masculine and feminine, raw and refined; the exuberance of traveling to a foreign land and the inner clarity and resonance of simply being. I’m drawn to a sense of timelessness, the origin story of a stone, a glacier, or cracked desert earth, something that roots us in our existence beyond what humans have constructed. My work helps locate and orient me in the world. They are way posts, markers, guides, fragments, or cairns for exploring the essence of our physical and inner landscapes.

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