Pink Mood III, 2026
Painting : acrylic, mixed media · 60 x 60 x 2 cm 23.6 x 23.6 x 0.8 inch
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Verified Reviews : 9.6/10
About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
acrylic , mixed media on Linen
Dimensions ( cm • inch )
60 x 60 x 2 cm 23.6 x 23.6 x 0.8 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2022 • Top Seller
Description
Until the mid-twentieth century, pink belonged to men. In eighteenth-century European courts, aristocrats and royalty wore it as a mark of wealth and power — a lighter shade of red, itself a colour of warfare and command.
Lavender fades into violet shadow. Hot magenta petals scatter as if dropped rather than placed. Deep plum roses hold their own darkness inside pale, translucent edges. Branches move diagonally across the linen, nothing symmetrical, nothing contained.
Whatever pink has meant across three centuries, this canvas insists on all of it at once — assertive, layered, unwilling to be one thing.
Series: Pink Mood (Part III)
Medium: Acrylic on 100% linen
Signed and dated by the artist
Comes with Certificate of Authenticity
Presentation
Anastassia Skopp is a contemporary artist whose botanical paintings explore presence, intuition, impermanence, and the delicate balance between control and surrender.
Flowers, branches, leaves, and shifting light provide the recognizable vocabulary of her work, but nature is never treated simply as a decorative subject. Skopp is interested in what happens when sustained attention changes the way an ordinary moment is experienced.
Since 2017, her study of Eckhart Tolle's teachings has influenced both her thinking and her painting process. She frequently works without detailed preparatory sketches, allowing a composition to develop through response rather than through the execution of a fixed plan. A branch may change direction, a flower emerge unexpectedly, or an open area remain untouched.
Her blossoms are often constructed through dense, sculptural strokes that rise physically from the surface. These tactile forms contrast with atmospheric fields of color, sprayed passages, delicate lines, and areas of visual silence. The result is a tension between material weight and ephemerality.
Across bodies of work including Spring Smells, A Summer Garden, Komorebi, and Wabi-Sabi Fragments, Skopp returns to ideas of transience and imperfect beauty. Light filtering through leaves, changing seasons, and irregular natural forms become reminders that experience cannot be permanently held.
Her paintings ultimately invite the viewer to slow down and return attention to the present — not as an escape from life, but as a way of encountering it more fully.
Reviews from our customers
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