![]() area, it’s a logical guess that the properties may have acquired for his two adult daughters, Leena and Nikhita, both of whom appeared in Netflix’s “ The Big Day” wedding docuseries. While it’s not yet clear why Iyar, long based in California’s Silicon Valley, suddenly wants or needs two lavish homes in the L.A. Both properties are blessed with unobstructed views of the Pacific Ocean and Catalina Island. The two houses, one a $7.8 million Tuscan-style villa and the other a $6.7 million, slightly smaller Tuscan-style villa, are not contiguous but happen to sit on the very same blufftop street, about five houses apart from one another. Records reveal he’s tossed down a total of $14.5 million for two separate mansions on L.A.’s scenic Palos Verdes Peninsula. Iyar, 63, has now reinvested some of those ballooned winnings into luxury real estate. The Mumbai-born tech tycoon, reportedly one of the first three investors in Zoom, saw the value of his multimillion-dollar stake more than quintuple over the past year, with the video conferencing company’s market cap at one point topping an eyeball-shredding $130 billion. ![]() PLEASE GO SEE IT!! Details available at: Curated by Baha Danesh Featuring artwork by: Chenhung Chen Teale Hatheway Emily Elisa Halpern Kiara Machado Caley O'Dwyer Feagin Jennifer Gunlock Jess Hernandez Art Stephanie Sherwood and Essi Zimm For more information see: #abstractart #abstractartist #dtlaartsdistrict #contemporaryart #losangeles #laart #laartist #painting #sculpture #exhibition #artcollector #artsharela (at Art Share L.A.They say the rich only get richer, and almost nobody had a more profitable, pandemic-assisted blockbuster 2020 than Subrah Iyar. The show is on view through December 3rd, 2022. Abstracted explores Los Angeles through a range of abstractionists whose artwork conveys the complexity of the urban environment. I had such a nice time last night at Art Share L.A for our artists walk-through of the L.A Abstracted exhibit! L.A. “When I put in light and the brushwork, the viewer’s position and movement actually creates the painting.” As you walk around her white canvases, their surfaces appear to glimmer and shift in response to the changing relationship between the painting and its observer. Decades after the production of her first White Light painting, the glass microbeads remain the driving force behind Corse’s perceptually complex work. Up close, however, the White Light paintings offer dimensionality and motion, relying on the spherical shape of the beads to refract light back into the work’s surrounding environment.4 The curved surface of the glass collects the light rays onto the painting’s surface and deflects the light toward a common focal point in this case, the viewer’s eye. Corse scatters the microspheres across the canvas and incorporates them into her mixture of white acrylic paint and gesso using a heavy-duty brush.3 Seen from afar, this treatment creates the effect of a static painting with areas of uniform color. Department of Transportation used in signage and highway markings. ![]() To produce this glowing effect in her paintings, she began employing the glass microspheres that the L.A. The realization that she could conjure this sensation of light using reflective glass beads changed the trajectory of Corse’s career.
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