Daryl Perry

Studio 1

2022

Found object, rose, petals, acrylic Artwork Unique “Rainbow Rose” is a one-of-a-kind classic work is not only a representation of the type of beauty I like to portray, but also the symbols and unique items that are meaningful to my creative practice. In the deepest part of my solitude in 2020, I was outside walking along the Hudson River in Manhattan, New York City where I stumbled upon a broken vase of colorful roses. Outside time and walks were some of my only ways to relieve me of the hardship brought on my the pandemic. The roses were so bright and colorful, yet curious. I was curious as to why someone...

Acrylic on primed surface with cradled wooden frame Artwork Unique “Mini Meditation” was inspired by my meditation and mindfulness practice. It is the smaller version of the much la...

Using calligraphic brushstrokes and muted color tones, I intend to bring in some traits of Chinese art. Assembling elements of art in the East and West is to signify the unique histo...

Using fragments of maps of my hometown, Hong Kong, this series of paintings reflects a first-person narrative of the interpretation of the city’s past and future. With vigorous color...

"Joyful" is a balance of soft, warm tones and layered shapes, allowing the viewer's eye to move around the composition. Layered on top, free flowing elements of varying line-weights ...

This painting is a non-representational depiction of the view from my childhood balcony. From that opening to the outside world, I saw a hillside highway which was named “Lung Cheung...

Charles Arnoldi, is an American painter, sculptor and printmaker. He was born April 10, 1946 in Dayton, Ohio. Charles Arnoldi has been described as an artist who “draws in space” to...

An original, fine art, abstract expressionist painting, "Withering on the Vine" combines abstracted floral motifs with gestural markings. Created in 2021 by a...

Contemplating Cultural Restoration, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...

Protesting his innocence, 2022. Mixed media: charcoal, pastel, acrylic paint on reclaimed paper Sheehama graduated from the University of Namibia with a Bachelor of Art (Fine Art) Honours degree in 2010 and has taught Visual Arts at the John Muafangejo...

Gathering Knowledge, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...

Authoritarian Upbringing, 2022. Mixed media: charcoal, pastel, acrylic paint on reclaimed paper Sheehama graduated from the University of Namibia with a Bachelor of Art (Fine Art) H...