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    Border Object Series: Pan to Medium Close-up,    2002/3, Pencil, oil stick and pastel on paper, 31 x 40.25 inches   

 Border Object Series: Pan to Medium Close-up,

2002/3, Pencil, oil stick and pastel on paper, 31 x 40.25 inches

 

   Airplane Crash Series: # 5467,    2001, Pencil and pastel on paper, 25 x 43 inches.

Airplane Crash Series: # 5467,

2001, Pencil and pastel on paper, 25 x 43 inches.

  Sinai Boogie Woogie,    2011, paint on paper, 70 x 48 inches.    

Sinai Boogie Woogie, 

2011, paint on paper, 70 x 48 inches. 

 

  Closer to Nature Series (Mobile Drawing),   2006, Digital printing on truck tarps   Kim Schoenstadt’s Closer to Nature Series (Mobile Drawings), Litterally changes the uban landscape that frames them. In both Falling Water and Still Pond, luscious images of nature are married to drawn architectural elements and commercially designed landscape. Schoenstadt’s work presents a wry comment of the constructed nature of all our environs and the propensity towards urban sprawl. She inverts the concept of Frank Lloyd Wright’s seminal building, Falling Water, and the architect’s commission to make his client feel “closer to nature”. Creating a frame within a frame, the city itself plays a role in the work by encasing the landscapes, which feature architectural constructions of their own. - Nora Halpern, Washington D.C. 2006

Closer to Nature Series (Mobile Drawing), 
2006, Digital printing on truck tarps

Kim Schoenstadt’s Closer to Nature Series (Mobile Drawings), Litterally changes the uban landscape that frames them. In both Falling Water and Still Pond, luscious images of nature are married to drawn architectural elements and commercially designed landscape. Schoenstadt’s work presents a wry comment of the constructed nature of all our environs and the propensity towards urban sprawl. She inverts the concept of Frank Lloyd Wright’s seminal building, Falling Water, and the architect’s commission to make his client feel “closer to nature”. Creating a frame within a frame, the city itself plays a role in the work by encasing the landscapes, which feature architectural constructions of their own.
- Nora Halpern, Washington D.C. 2006

IMG_1821.jpg
   Can Control: San Francisco,     2006, spray paint on canvas, 60 x 212 inches

Can Control: San Francisco,

2006, spray paint on canvas, 60 x 212 inches

 Border Object Series: Pan to Medium Close-up,

2002/3, Pencil, oil stick and pastel on paper, 31 x 40.25 inches

 

Airplane Crash Series: # 5467,

2001, Pencil and pastel on paper, 25 x 43 inches.

Sinai Boogie Woogie, 

2011, paint on paper, 70 x 48 inches. 

 

Closer to Nature Series (Mobile Drawing), 
2006, Digital printing on truck tarps

Kim Schoenstadt’s Closer to Nature Series (Mobile Drawings), Litterally changes the uban landscape that frames them. In both Falling Water and Still Pond, luscious images of nature are married to drawn architectural elements and commercially designed landscape. Schoenstadt’s work presents a wry comment of the constructed nature of all our environs and the propensity towards urban sprawl. She inverts the concept of Frank Lloyd Wright’s seminal building, Falling Water, and the architect’s commission to make his client feel “closer to nature”. Creating a frame within a frame, the city itself plays a role in the work by encasing the landscapes, which feature architectural constructions of their own.
- Nora Halpern, Washington D.C. 2006

Can Control: San Francisco,

2006, spray paint on canvas, 60 x 212 inches

    Border Object Series: Pan to Medium Close-up,    2002/3, Pencil, oil stick and pastel on paper, 31 x 40.25 inches   
   Airplane Crash Series: # 5467,    2001, Pencil and pastel on paper, 25 x 43 inches.
  Sinai Boogie Woogie,    2011, paint on paper, 70 x 48 inches.    
  Closer to Nature Series (Mobile Drawing),   2006, Digital printing on truck tarps   Kim Schoenstadt’s Closer to Nature Series (Mobile Drawings), Litterally changes the uban landscape that frames them. In both Falling Water and Still Pond, luscious images of nature are married to drawn architectural elements and commercially designed landscape. Schoenstadt’s work presents a wry comment of the constructed nature of all our environs and the propensity towards urban sprawl. She inverts the concept of Frank Lloyd Wright’s seminal building, Falling Water, and the architect’s commission to make his client feel “closer to nature”. Creating a frame within a frame, the city itself plays a role in the work by encasing the landscapes, which feature architectural constructions of their own. - Nora Halpern, Washington D.C. 2006
IMG_1821.jpg
   Can Control: San Francisco,     2006, spray paint on canvas, 60 x 212 inches