This section showcases Amy Ione’s paintings from throughout her career. Other tabs sort by decades, topics, time periods, and so forth.
This card is blank inside. Because it is suitable for framing it would also make a perfect gift card. The image is painted on 2 panels.
Date: 2019. Signed by artist. Continue reading ““Just Another Day at the Office” (2019)”
Painted in 1986, this work was ruined by a leaky roof about ten years after it was created. When it was on display it led to unusual encounters due to its perceptual resonance. They are too numerous and varied to record here.
The process used combined liquid acrylic paint overlays and ink.
Continue reading ““…To Be Silent–The Will to Universal Talent” (The Artist as Creator, #2) (1986)”
Amy Ione
Title: Sketch (35661)
Date: (2024)
Medium: Oil on canvas
Dimensions: Measures 10x8x.75 inches.
Unsigned:
Catalog Number: 35661 Continue reading “Sketch (35661) (2024)”
The Mind and the Butterfly Effect brings geometric structure into dialogue with the unpredictability that defines artmaking, cognition, and chaos theory. It takes it title (or conceptual cue) from the “butterfly effect,” the idea that minute variations in initial conditions can cascade into large, unforeseen consequences within complex systems. Initially, the composition reads as regular—anchored by a grid-like scaffolding and a disciplined sense of spatial order. Closer inspection, however, reveals subtle shifts in line weight, chromatic modulation, and the physicality of the ink and acrylic application.
This intimate tribute to Paul Klee’s 1937 Blue Night (Blaue Nacht) is a part of a diptych, with Homage to Paul Klee (Blue Night) #1 comprising the other panel. Both works celebrate Klee’s fascination with how one can manipulate abstract possibilities in both art and music. Therefore, it too reflects a fusion of abstraction and poetic nuance. Together, the two 8-inch panels of the diptych demonstrate how Klee’s musical methodology can manifest through contrasting formal vocabularies, one staccato and architectural, the other legato and organic. Continue reading “Homage to Paul Klee (Blue Night) #2 (2018)”
Homage to Paul Klee (Blue Night) #1 is an intimate tribute to Paul Klee’s 1937 Blue Night (Blaue Nacht) painting. Like Klee’s work, this piece reflects a fusion of abstraction and poetic nuance. One noteworthy quality is how the homage to Klee asserts a contemporary rhythm through its presentation of a geometric composition built entirely from straight lines and angular forms. Continue reading “Homage to Paul Klee (Blue Night) #1 (2018)”
A percept is impression of an object obtained by use of the senses.
This work is an early twentieth century painting that is a part of my Perception Studies series.
This work is a continuation of my investigations into the correspondences among color, form, and visual dynamic in terms of their psychological and perceptual effects/affects. Using an intuitive and poetic approach, the work aimed to formulate an abstract language that would cause strong emotions in the same way music does.
Continue reading “Process and Creation”
This painting illustrates a strategy for revealing the mechanics of both seeing and feeling. Rather than simply representing the objects that comprise a still life, in this painting the diagonal fractures guide the eye and the repeated angular motifs produce rhythm. Thus, the overall result is a constructed surface, reinforcing the painting’s materiality.
Continue reading “Fractured Still Life (Flowers of Spring) (2011)”
Amy Ione
Title: Evocative Red Chord (Greeting Card)
Date: 2017
Medium: Ink and acrylic on archival paper
Dimensions: 7.25 x 5.25 inches
Unsigned:
Catalog Number: 26289