Dana Schein paints sad and funny with the same stroke. Using anachronisms

Result #1

vernacular as a springboard for new, original, and different images, Schein uses her paintings to explore the conflict between painting and life. In a series of untitled paintings, Schein captures the spirit of a lost paradise. In the paintings, the artist paints a sea of flowers and other objects, each with its own unique, organic life force. Her subjects are all flowers, but with a different color. The flowers are usually gathered from the garden of a local flower shop, but they also appear in the garden of a flower shop. The flowers are painted in a manner that evokes the flower shop windows, but they are also made of plaster and plaster and covered with a thin layer of paint. Schein also paints the plaster, which she then sandes down to reveal the flowers under the plaster. The result is a picture of a flower shop, but one without the flower shop window. The plaster is a kind of overpainting, and the flowers are rendered as if they were still petals. In Scheins paintings, the flowers are rendered as they would be found in a flower shop, but without the decorative embellishments. The flowers are painted with the same painterly touch as in a flower shop.Schein has painted these flowers as if they were flowers. But the flowers are not flowers. They are miniature trees, and Schein has painted them with the same care as in a flower shop. She has also used the same technique to make the plaster and plaster, and the result is even more poignant. The plaster is painted in a manner that suggests a young girl painting her own picture, and the flowers are rendered in the same manner as in a flower shop. Scheins paintings are still very young, but they show that the artist has not yet reached her late 20s. She has not yet reached the age of 50, yet her paintings are as fresh as they are fresh.

Result #2

vernacular, she is able to construct a narrative of longing, longing, and the desire for authenticity. Her paintings are not so much about the past as they are about the present, about the present and past. Schein has a knack for finding the right combination of the past and the present. She is able to weave together the past and the present with wit and a grace that is both contemporary and timeless.

Result #3

Dana Schein paints sad and funny with the same stroke. Using anachronisms vernacular, she brings together a sense of the personal and the historical, of the American past and the recent past. Schein explores the potential of the vernacular, the vernacular as a way of seeing. Her paintings are about the vernacular as a means of seeing, and about the vernacular as a way of seeing.

Result #4

Dana Schein paints sad and funny with the same stroke. Using anachronisms vernacular, she creates a series of images that are at once ironic and ironic, profound and sentimental. Schein uses her subjects as subjects, and her subjects as subjects.The show included paintings and drawings that portray the artist and her subjects in situations that are at once funny and sad. A work titled The Hanged Man (all works 1990) depicts Schein as a little girl, her legs dangling over her head, and in a headless pose. She stares out at the viewer, her body as bare as her dress. In a series of drawings entitled The Father, Schein is portrayed as a little girl, with her legs spread wide open and her legs tied together. The figure of the father is a little boy with his legs apart, his hands tied behind his back, and a big black cross. Schein is a little girl with a big black cross on her leg, and the cross is the only thing visible from the side. She seems to be holding a doll in her hands, and the doll is holding a cross. The mother is a little girl with her legs spread wide open, and the only thing visible from the side is the cross. The father is a big black figure holding a doll, and the doll is holding a doll. The father is holding a doll, and the doll is holding a doll. The mother is a big black figure holding a doll, and the doll is holding a doll. The father is a little boy holding a doll, and the doll is holding a doll. The mother is a little girl holding a doll, and the doll is holding a doll. The father is a big black figure holding a doll, and the doll is holding a doll. The mother is a little girl holding a doll, and the doll is holding a doll. The father is a little boy holding a doll, and the doll is holding a doll. The mother is a little girl holding a doll, and the doll is holding a doll.

Result #5

vernacular as a base, Schein uses her signature to create a new, more contemporary vision. She draws on the vernacular, and the vernacular as a whole, to create an original and original vision of the world.