This section showcases paintings. Since the purpose of this website is to archive Amy Ione’s work from the 1970s to the present, both successful and less successful work is displayed. For more information about any of the works, click on the caption below the painting or send an email.
The inspiration for this medley of three blue circles was a cup and saucer. Its design is accentuated by the way the textured paint evokes clay structures. How the shades of blue and white come together perceptually adds a spatial depth that teases the viewer’s experience of it.
Continue reading “Study: 3 Blue Circles with Texture”
Undulating shades of black, pink, and silver, patterned to tease the viewer perceptually on close engagement. For variations on this theme, see Maquette #1 and Maquette #2.
Shades of blue, black, gray, and white are patterned to tease the viewer perceptually on close engagement. For variations on this theme, see Maquette #1 and Maquette #3.
Shades of blue, red, silver and black are patterned to tease the viewer perceptually on close engagement. For variations on this theme, see Maquette #2 and Maquette #3.
Penrose Tiling #2 features a tessellation of rhombus-shaped units arranged in a non-periodic pattern—one that resists repetition yet maintains internal logic. On this large, square canvas, the work’s mathematical underpinning becomes a vehicle for perceptual play, as the viewer’s eye navigates shifting planes and chromatic transitions. Continue reading “Penrose Tiling #2 (2015)”
This evocative oil painting explores the interplay between darkness and illumination through a monochromatic palette. Using black and white only, the painting demonstrates how these contrasting values can generate an almost chromatic luminosity despite the absence of color. The composition investigates the optical phenomenon whereby white light contains the full visible spectrum, while challenging conventional notions of black as merely the absence of light. Continue reading “Pandemic Value Study #1 (2020)”
Perceptual Study 31124 is an optical illusion study that deliberately engages the viewer, shifting perception with each glance. Therefore, this work is less about static imagery and more about how the brain interprets ambiguous visual cues and luminosity, making it a dynamic perceptual experiment in which both the illusionary shifts and the color gradations remind us that perception is unstable, contingent, and deeply personal. Each encounter with the painting is unique, making the viewer an active participant in the artwork’s unfolding. Continue reading “Perceptual Study, 31124 (2020)”
This 1983 gouache and ink work, Ships, reads as a stylized boat within a rigorously geometric, almost architectural framework. Blending a medley of circles, arcs, and rectilinear grids, this small painting evokes a dialogue between a concrete subject (a ship and its masts) and an abstract system of colored shapes.
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 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)”