OBSIDIAN PATTERN 2 - Oil Painting On Canvas By Leonid Afremov
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- Size: 34"x28" (86cm x 71cm)
- Signature: Signed on the front and back
- Certification: Signed COA provided
- Materials: Palette Knife, Oil Paint, Canvas
A UNIQUE ONE-OF-A-KIND ORIGINAL OIL PAINTING ON CANVAS - THE BEST POSSIBLE QUALITY HAND-PAINTED ARTWORK BY LEONID AFREMOV GALLERY ARTIST
This is a real 100% UNIQUE Hand-painted ONE-OF-A-KIND ORIGINAL painting by Afremov Gallery (not a print, or recreation artwork)
The painting is signed on the front and the back, this artwork comes with a certificate of authenticity, personally signed by the artist
This painting looks tridimensional and has a lot of heavy textures
OBSIDIAN PATTERN explores an arrangement of bold angular geometric shapes, cut by thin bright streaks, shaped by scraped textures through layered palette knife textures and sculptural strokes.
Bold impasto ridges catch shifting light, while scraped passages reveal underlying hues and tonal variation.
The composition invites close viewing, highlighting movement, contrast, and expressive material presence.
Hand Painted by Artist
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Across a field of fractured darkness, Obsidian Pattern 2 turns geometry into a charged encounter between pressure and release. Angular planes seem to advance and withdraw at once, while narrow bright intervals keep the composition from settling into a single order. The deep recesses give its vivid teal, blue, and amber passages a sense of contained force, as though light were breaking through a structure under strain. Its drama is not descriptive but spatial: the eye moves through collisions, pauses, and sudden openings.
The pointed forms suggest a pattern still becoming itself, held between crystalline clarity and instability. A golden shape near the upper left returns elsewhere in altered emphasis, creating a loose rhythm without resolving the tension. Against the darker divisions, the color feels less decorative than elemental - flashes of heat and coolness caught within an unsettled architecture. The small pale mark near the lower edge introduces a human trace, but the surrounding geometry remains deliberately impersonal, leaving the work suspended between order and fracture.
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