Putting Nadia to Bed
Putting Nadia to Bed

Oil, cellulose pigment, sugar cane husk, paper and fabric cutouts, clay and paper dipped in beeswax on stretched T-shirt and pants. 42 x 36 inches.

Zona: Stalker’s Chroma
Zona: Stalker’s Chroma

Oil, cellulose pigment, beechwood tar, sugarcane husks, inserted leather, copper wire, and an extruder on stretched basketball shorts with inverted pocket. 20 x 20 inches.

Cavern’s Sweat
Cavern’s Sweat

Oil, beechwood tar, sugarcane husks, cut out of painted fabric, leather, and sculpted clay pieces, and moss on stretched long sleeve denim shirt. 21 x20 inches.

Architectural Empathy
Architectural Empathy

Oil, cellulose pigment, fabric, paper cut outs dipped in beeswax, and silicone fragment on canvas. 36 x 36 in.

Uzbek Kindergarten
Uzbek Kindergarten

Oil, cellulose pigment, cellulose pulp, gall ink, beechwood tar, oil pastel, paper and fabric cutouts, 3D printed fragment, clay, and organza adhered to plexiglass on leather wrapped over a short sleeve button down shirt. 27 x 27 inches Photo by Bess Adler

War Worn
War Worn

Oil, cellulose pigment, gall ink, beechwood tar, oil pastel, fabric thread, clay dipped in beeswax, drawings marinated in clove oil dipped in beeswax, meteorite fragment, paper cut outs, and 3d printed gesture on zip up bomber jacket turned inside out and wrapped over partially exposed stretcher. 28 x 25 inches Photo by Bess Adler.

My Neighbor in a Summer Dress with an Axe
My Neighbor in a Summer Dress with an Axe

Oil, cellulose pigment, shellac ink, gall ink, meteorite fragment, 3D printed gesture, a marinated drawing cooked in beeswax, and paper cut outs on a short sleeve button down shirt with an exposed wood of the stretcher piercing through in the bottom left corner. 30 x 27 inches. Photo by Bess Adler

Nighttime in Tashkent
Nighttime in Tashkent

Oil, cellulose pigment, shellac ink, beechwood tar, found metal, a lighter, paper cut outs, clove oil drawing dipped in beeswax on partially unbuttoned polo wrapped over wood covered in beeswax. 35 x35 inches. Photo by Bess Adler

Open Gridlock: Babulia's Home Bombed in Zhitomir
Open Gridlock: Babulia's Home Bombed in Zhitomir

Oil, cellulose pigment, gall ink, beechwood tar, oil pastel, fabric thread, clay dipped in beeswax, drawings marinated in clove oil dipped in beeswax, meteorite fragment, paper cut outs, and 3d printed gesture on a t-shirt wrapped over partially exposed stretcher. 32 x 32 inches. Photo by Bess Adler

Seeds in the Pockets of Dead Russian Soldiers Growing into Sunflowers
Seeds in the Pockets of Dead Russian Soldiers Growing into Sunflowers

Oil, cellulose pigment, rare earth watercolor, gall ink, beechwood tar, balsam sap, oil pastel, fabric thread, clay dipped in beeswax, drawings marinated in clove oil dipped in beeswax, meteorite fragment, 3d printed gesture, paper and canvas cut outs on stretched leather. 32 x 34 inches. Photo by Bess Adler

Immigration Noire: Emotional Architecture
Immigration Noire: Emotional Architecture

Oil, cellulose pigment, moss, balsam sap, paper cut outs, printed still images from my film. 49.5 x 50 inches. Photo by Bess Adler

Immigration Noire Too: Bribing Russian Soldiers to Avoid the Russian Mafia
Immigration Noire Too: Bribing Russian Soldiers to Avoid the Russian Mafia

Oil, cellulose pigment, pastel, beechwood tar, shellac ink, pine moss pressed into balsam sap, paper, canvas, and passport photo cut out, on canvas. 48 x48 inches . Photo by Bess Adler

Night Swimming in the Black Sea
Night Swimming in the Black Sea

Oil, cellulose pigment, and shellac ink on canvas. 36 x 48 inches. Photo by Bess Adler

Smoking Grape Vines
Smoking Grape Vines

Oil, cellulose pigment, shellac ink, beechwood tar, paper cut outs, fabric thread trim, beads, industrial marker, and 3d printed gesture on canvas. 35 x 52 inches. Photo by Bess Adler

Putting Nadia to Bed
Zona: Stalker’s Chroma
Cavern’s Sweat
Architectural Empathy
Uzbek Kindergarten
War Worn
My Neighbor in a Summer Dress with an Axe
Nighttime in Tashkent
Open Gridlock: Babulia's Home Bombed in Zhitomir
Seeds in the Pockets of Dead Russian Soldiers Growing into Sunflowers
Immigration Noire: Emotional Architecture
Immigration Noire Too: Bribing Russian Soldiers to Avoid the Russian Mafia
Night Swimming in the Black Sea
Smoking Grape Vines
Putting Nadia to Bed

Oil, cellulose pigment, sugar cane husk, paper and fabric cutouts, clay and paper dipped in beeswax on stretched T-shirt and pants. 42 x 36 inches.

Zona: Stalker’s Chroma

Oil, cellulose pigment, beechwood tar, sugarcane husks, inserted leather, copper wire, and an extruder on stretched basketball shorts with inverted pocket. 20 x 20 inches.

Cavern’s Sweat

Oil, beechwood tar, sugarcane husks, cut out of painted fabric, leather, and sculpted clay pieces, and moss on stretched long sleeve denim shirt. 21 x20 inches.

Architectural Empathy

Oil, cellulose pigment, fabric, paper cut outs dipped in beeswax, and silicone fragment on canvas. 36 x 36 in.

Uzbek Kindergarten

Oil, cellulose pigment, cellulose pulp, gall ink, beechwood tar, oil pastel, paper and fabric cutouts, 3D printed fragment, clay, and organza adhered to plexiglass on leather wrapped over a short sleeve button down shirt. 27 x 27 inches Photo by Bess Adler

War Worn

Oil, cellulose pigment, gall ink, beechwood tar, oil pastel, fabric thread, clay dipped in beeswax, drawings marinated in clove oil dipped in beeswax, meteorite fragment, paper cut outs, and 3d printed gesture on zip up bomber jacket turned inside out and wrapped over partially exposed stretcher. 28 x 25 inches Photo by Bess Adler.

My Neighbor in a Summer Dress with an Axe

Oil, cellulose pigment, shellac ink, gall ink, meteorite fragment, 3D printed gesture, a marinated drawing cooked in beeswax, and paper cut outs on a short sleeve button down shirt with an exposed wood of the stretcher piercing through in the bottom left corner. 30 x 27 inches. Photo by Bess Adler

Nighttime in Tashkent

Oil, cellulose pigment, shellac ink, beechwood tar, found metal, a lighter, paper cut outs, clove oil drawing dipped in beeswax on partially unbuttoned polo wrapped over wood covered in beeswax. 35 x35 inches. Photo by Bess Adler

Open Gridlock: Babulia's Home Bombed in Zhitomir

Oil, cellulose pigment, gall ink, beechwood tar, oil pastel, fabric thread, clay dipped in beeswax, drawings marinated in clove oil dipped in beeswax, meteorite fragment, paper cut outs, and 3d printed gesture on a t-shirt wrapped over partially exposed stretcher. 32 x 32 inches. Photo by Bess Adler

Seeds in the Pockets of Dead Russian Soldiers Growing into Sunflowers

Oil, cellulose pigment, rare earth watercolor, gall ink, beechwood tar, balsam sap, oil pastel, fabric thread, clay dipped in beeswax, drawings marinated in clove oil dipped in beeswax, meteorite fragment, 3d printed gesture, paper and canvas cut outs on stretched leather. 32 x 34 inches. Photo by Bess Adler

Immigration Noire: Emotional Architecture

Oil, cellulose pigment, moss, balsam sap, paper cut outs, printed still images from my film. 49.5 x 50 inches. Photo by Bess Adler

Immigration Noire Too: Bribing Russian Soldiers to Avoid the Russian Mafia

Oil, cellulose pigment, pastel, beechwood tar, shellac ink, pine moss pressed into balsam sap, paper, canvas, and passport photo cut out, on canvas. 48 x48 inches . Photo by Bess Adler

Night Swimming in the Black Sea

Oil, cellulose pigment, and shellac ink on canvas. 36 x 48 inches. Photo by Bess Adler

Smoking Grape Vines

Oil, cellulose pigment, shellac ink, beechwood tar, paper cut outs, fabric thread trim, beads, industrial marker, and 3d printed gesture on canvas. 35 x 52 inches. Photo by Bess Adler

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