Monthly Archives: April 2017

Yoram Wolberger Releases TOY SOLDIER #4

Mark Moore Fine Art is pleased to announce the release of a new major sculpture work by gallery artist YORAM WOLBERGER. The artist has just released a new edition of his trademark oversized fiberglass sculptures. Much like the (now sold-out) “Cowboy and Indian” series and the “Trophy” series of sculpture works, Wolberger’s new “Toy Soldiers” strike a chord for nostalgic Americana and pop culture.


Toy Soldier #4, (Offhand Position), 2016
3D digital scanning, CNC digital sculpting, Reinforced Fiberglass Composite, Urethane
Approximate dimensions: 72 x 60 x 24 inches
Edition: 3 + 2 A/Ps


Please note that Edition 1/3 and 2/3 have already been sold. The artist still has one example that remains available in the edition of three, as does one Artist Proof.


Yoram Wolberger uses childhood toys and everyday domestic items to create his large scale sculptures, foregrounding the latent symbolism and cultural paradigms of these objects that so subtly inform Western culture. By enlarging this ephemera to life size, Wolberger emphasizes the distortions of their original manufacture disallowing any real illusion and conceptually forcing the viewer to reconsider their meanings. When enlarged beyond any possibility of dismissal, we see that toy soldiers create lines between Us and Them, plastic cowboys and Indians marginalize and stereotype the Other, even wedding cake bride and groom figurines dictate our expected gender roles.


As the HUFFINGTON POST put it: “Wolberger’s Cowboys & Indians is based on the widely familiar toy figurines with which Wolberger played during his youth, and invites viewers to consider the manufacturing of common cultural stereotypes. Faithfully reproducing the seemingly innocent figurines at life size proportions with all their original design “flaws” intact, the artist compels us to reexamine the cultural attitudes implied by such distorted portrayals.”

For additional information on all available works currently available by YORAM WOLBERGER please reference his artist page on our ARTSY website for you to view there by clicking on this link.

Please note that shipping, crating, and taxes for in-state sales will be additional, and all editioned pieces are available subject to prior sale.



Julie Oppermann Exclusive Online Show On View Now


ON VIEW NOW: The Mark Moore Fine Art is proud to present an Exclusive Online ARTSY Exhibition, Julie Oppermann: Waking Lines – currently on view through May 15th. Check it out now at the following link:



Neuroscience, Art Come Together in Barrick Museum Exhibit

Check out this article on the painting of  Julie Oppermann published this by the UNLV NEWS CENTER week at the following link titled “Neuroscience, Art Come Together in Barrick Museum Exhibit“:


Reminder: The Mark Moore Fine Art is proud to present an Exclusive Online ARTSY Exhibition, Julie Oppermann: Waking Lines – currently on view through May 15th. Check it out now at the following link:



Final Twenty Days to see Christopher Russell in “Process” at the UNLV Barrick Museum

Christopher Russell is among the ten MMFA artists will be featured in the exhibition titled PROCESS curated by Matthew Gardocki at the Barrick Museum at the University of Nevada Las Vegas which closes on Saturday, May 13, 2017.


This exhibition will also include works by: Julie Oppermann; Christopher Duncan; John Bauer; Kara Joslyn; Kim Rugg; Ryan Wallace; Heidi Schwegler; Meghan Smythe; Christopher Russell, along with Lester Monzon.

This show is currently featured on ARTSY at the following link:

You can also download Christopher Russell free online STATEMENTS Catalog published by Mark Moore Fine Art featuring full color images of recent artworks, bio information, and a Q&A with the artist at the following link HERE.

For more information on this work please contact:



“Waking Lines” Exhibition Featured on ARTSY L.A. Galleries Page

Please note that our current Julie Oppermann: Waking Lines show is currently being featured on the Los Angeles galleries page of ARTSY.

Screen Shot 2017-04-18 at 9.44.55 AM

Check out this exclusive online exhibition at:



Zemer Peled Reviewed in THE SEATTLE TIMES

Zemer Peled’s work in the Winston Wächter Fine Art exhibition Form Over Function has been featured in a Seattle Times article as a “not-to-miss” ceramics exhibition. Here is a short excerpt from the article:


Image: Zemer Peled, Black Dreams #3, 2016 / Porcelain / 10 1/2 × 10 1/2 × 5 ins

“Peled’s meticulous pieces never had a function to begin with. ‘Untitled 1’ and ‘Untitled 5’ are symmetrical abstractions of flower forms, built from hundreds of thin painted prongs of clay. Their colors change depending on your vantage point. ‘Black Dreams #3’ is still more complex: an asymmetrical organism of dark ceramic tendrils that undulate as if swaying to an underwater current.” -Michael Upchurch


DETAIL Image: Zemer Peled, Black Dreams #3, 2016 / Porcelain / 10 1/2 × 10 1/2 × 5 ins

For more information on this and other artists we have work with please go to our website:

You can find additional available works by this artist and prices on our ARTSY website:



PREVIEW: “Waking Lines” – an exclusive online exhibition on ARTSY by painter Julie Oppermann opening tomorrow

Mark Moore Fine Art proudly presents “Waking Lines” – an exclusive online exhibition on ARTSY by painter Julie Oppermann. Predominantly intrigued by the idea of sensory interference, Oppermann creates meticulously painted patterns that reference cognitive perception through synthetic experience. As if capturing warped television signals or pixilated computer screens, Oppermann’s work evokes conceptual associations derived from intricate moiré patterns, thus revealing profound observations about our intellectual acuity.

View this show now at the following ARTSY Link.


Acrylic on wood panel / 83 × 75 ins

Oppermann’s compositions are achieved through equal parts rule and spontaneity. Painting layers upon layers of nearly identical lines and waves, Oppermann crafts hallucinatory abstractions that flicker, expand, contract, and undulate based on the unique vantage point of an individual viewer. Her attuned use of hue, space, and contrast induce a kind of visual interference that embodies her concerns about the way information is disseminated – oftentimes generating strains between regions of glitches and consistency to illustrate the inherent flaws between transmission and perception. Oppermann’s divergent studies in Neuroscience and Color Theory, coupled with her interest in comprehension and cognition yield these unsettling terrains – distorted topographies that achieve the familiar tension felt between physical and digital interface. While at times, Oppermann’s hand appears extraordinarily controlled and calculated, her paintings simultaneously broadcast a competing technique born of impulsiveness and imperfection. Like the visceral reactions derived from manufactured imagery and information, Oppermann’s paintings elicit an instinctive sense of attraction and curiosity.


Acrylic on canvas / 72 × 60 ins

“I would say that when you look at my paintings you see yourself seeing. They are sometimes a little challenging to look at, After-images and simultaneous contrast create sensations of movement, flashes and flickers of light, illusions of depth and space, uncomfortable tensions. If you look at them for a while they literally start moving, and you end up blinking and wondering what is going on – you are watching your visual system bug out. It is a little over- whelmed by the information coming in, and is having trouble figuring out how to process it. That’s pretty cool to recognize, because most of the time we don’t give this any thought, we just assume that what we are seeing is true.”  – Julie Oppermann

Julie Oppermann’s work pushes the limits of visual perception, making paintings that are physically difficult to perceive. The scintillating effects arising through the calculated layering and juxtaposition of contrasting colors through repetitive line patterns elicit shuttering afterimages, optical flicker, and disorienting sensations of movement. The paintings, on one hand, reference the digital, looking as if they might be computer-generated, vector-based interference patterns; up close, however, they reveal a gestural, intuitive approach. Glitches, bleeds and mis-registrations rupture the illusory field of the moiré, creating visual noise and also highlight the basic tools at work: taped-off line patterns and paint on canvas. Where others approach ideas such as rasterization, pixelation, image compression, data loss and corruption primarily through the more obvious channel of digital media, Oppermann succeeds, instead, by effecting these phenomena directly through the medium of perception itself. The glitch, so to speak, occurs in the viewing of the work, by distorting the viewer’s field of vision, and interfering with their ability to “see” and look at the painting.


Julie Oppermann, Acrylic on canvas / 72 × 96 ins

Concurrently, Oppermann is also featured in another exhibition titled “Process” at the Barrick Museum at the University of Nevada Las Vegas through May 13, 2017.

This exhibition will also include works by: Julie Oppermann; Christopher Duncan; John Bauer; Lester Monzon; Kim Rugg; Kara Joslyn; Heidi Schwegler; Meghan Smythe; Christopher Russell, along with Ryan Wallace. Each of the artist’s process of creation is brought to the forefront in the exhibition. While some of the work seems very immediate visually the artists process is actually quite extensive in getting to the final image. Highlighted are the artist’s use of materials including the sun and time to create abstractions while others use computers and man made materials.

Rooted in Dada and performance theater, Process Art is a conceptual framework that allows the intangible act of creation to be made perceptible in the finished artwork. It played a key role in the careers of pioneering twentieth-century art world figures such as Joseph Beuys, Eva Hesse, Bruce Nauman, and Richard Serra. Following in their footsteps, the artists of “Process” have forged eloquent visual languages around the environmental effects of the sun, the retrieval of debris from a studio floor, and the intricate movements that a hand undergoes as it cuts and reassembles postage stamps. Visitors can expect to encounter a fresh and perhaps unfamiliar field of art-making in which energy is celebrated and the finished object is not always the principle focus.


Julie Oppermann, Acrylic on yupo paper / 26 × 20 ins

Julie Oppermann is an artist from New York who lives and works in Berlin. She received her BFA from The Cooper Union, and a Master’s in Neuroscience from the University of California, Berkeley. In 2012 she completed a residency at FAAP in São Paulo, an academic exchange with Professor Robert Lucander at the Berlin University of the Arts, and completed her M.F.A. at Hunter College. In 2013 she had solo exhibitions at Mark Moore Gallery in Los Angeles, and Galeria Árnes y Roepke in Madrid. Her work is included in numerous public and private collections, including the Museum of Fine Arts Houston (TX), and the Museum of Contemporary Art, San Diego (CA).

For more information, please contact: