1.Construction 352, Encaustic and Gold on Wood 28x29x2 in, US$ 4500.00   2.Construction 401, Casein on Wood 25x26x1 in, US$ 3500.00   3.Construction 402, Casein on Wood 25x26x1 in, US$ 3500.00   4.Construction 516, Acrylic on Wood 24x30x2 in, US$ 5000.00   5.Construction 531, Encaustic on Wood 29x24x2 in, US$ 5500.00   6.Construction 538, Acrylic on Anpersand 24x24x2 in, US$ 4500.00   7.Construction 547, Acrylic on Wood 29x24x2 in, US$ 5200.00   8.Construction 552, Encaustic on Wood 30x24x2 in, US$ 4500.00    9.Construction 553, Encaustic on Wood 32x24x1 in, US$ 4500.00   10.Construction 556, Acrylic on Wood 22x28x1 in, US$ 6500.00   11.Construction 550, Acrylic on Wood 22x42x2 in, US$ 6500.00    12.Construction 550, Acrylic on Wood 22x42x2 in, US$ 6500.00

Born and educated in Switzerland, Astrid Fitzgerald has been living and working in New York City and the Hudson Valley since 1961. Her work has been shown in eighteen countries in solo, group and travelling exhibitions, and is represented in major corporate, museum and private collections. Recent solo shows include Art Nouveau Gallery, Miami - Astrid Fitzgerald: Emergent Symmetries; Wired Gallery - Retrospective, High Falls, NY; The Gallery at R&F, Kingston, NY; Garrison Art Center, Garrison, NY; Unison Arts Center, New Paltz, NY; The Pearl Arts Gallery, Stone Ridge, NY; LoRiver Gallery, Beacon, NY; Galerie Raubach, St. Gallen, Switzerland; Muroff-Kotler Visual Arts Gallery at SUNY Stone Ridge, NY. Fitzgerald’s installation Amish Quilts was chosen by the Jury of the Artcanal in Le Landeron, Switzerland to represent the United States during expo02. Major site-specific commissions include Union Bank of Switzerland, New York, NY; IBM, Marcel Breuer Building, Boca Raton, Florida; Kindercare Corporation, Montgomery, Alabama; IBM, Atlanta, Georgia, Ridgeway Corp. Atlanta; UBS Securities, New York City. 

In the artist's words
I began making art while at the same time searching for answers to fundamental questions about the nature of being. I explored the laws of geometric forms and discovered that my art and basic philosophical questions came together. Two fragments by Heraclitus, the early Greek thinker, are vital to my work. These are: "Nature Loves to hide," and "A hidden connection is stronger than an apparent one."
The wonder is that what may seem fixed and static laws are instead dynamic and expressive of great potential and creativity. One principle in particular, the so-called Golden Mean Proportion, is perhaps the most dynamic of all, and I have worked with its potential for years. Within it’s rigor I activate and alter the surface of canvases, works on paper and constructions freely, creating contrasts of light and dark, depth and surface, energy and stillness, using saturated color inspired by trips to the ancient sites of Greece and Egypt.
Nature indeed loves to hide and it has taken time and patience to tease out her secret laws. I have been aided in this process by earlier seekers devoted to the wonder of philosophical geometry, among them Mondrian, Kupka, Kandinsky, Rothko and the great artists of the Italian Renaissance.
My aim remains constant: to make art and objects with a presence that can be appreciated on both its physical aspect and its intrinsic content. The statement by Heraclitus that a hidden connection is stronger than an apparent one also suggests that anyone looking at these works may find that time and patience in front of a given piece might be rewarding. I hope it is true. I believe it is.

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