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G. Campbell Lyman
Rosetta #8 (Abstract Contemporary Painting, Framed)

2022

About the Item

Comes framed and ready to hang in professional wood black floater frame. Artist’s Statement: “I have been working on more formal and restrained paintings lately, and decided to loosen up by revisiting a series I did a few years ago inspired by the work of Cy Twombly, Julian Schnabel and various other painters of gestural and somewhat graffiti-like strokes. Those were sold long ago. These new paintings incorporate an array of mediums; it's a very complex surface. To me they have an urban and edgy feel to them. This one has very heavy impasto, aggressive "chunks" of paint. I typically sell in New Orleans but have been keeping some work back to offer exclusively online in order to make it available to collectors elsewhere." “Lyman’s work evolves restlessly, with the common elements generally being deft and unusual color choices that balance assonance and dissonance, and vestiges of the hand and facture purposely left in the paintings. The negative space is often so meticulously worked that it’s almost as if the objects – usually simple shapes – are there as much to complement the background as vice versa. Despite the often bold colors there is an elegance about his paintings that prevents them from being loud or decorative. " Artbeit Zeitschrift (On prior series by the artist): “These paintings are a refreshing departure from the current abstract art world’s seemingly endless parade of fields of color with scribbles providing form, a style that is easily mimicked and has become a sort of “safe,” accessible go-to. There are confident decisions in these paintings appearing as commitments of strongly delineated forms and unexpected collisions of color that give the work a visceral, confident and playful soul, increasingly missing from contemporary expressionist abstraction. They are the paintings of a real painter rather than a decorative artist.” ArtSeen, 2018 Painting comes in a black wood float frame, ready to hang.
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    Artist's statement: "Separate from the tar paintings I have been doing, I am creating a series of work in which I am channeling some of the things I have always loved about Cy Twombly along with qualities of a painting I saw in a local collection by a Cuban painter that I really admired and have thought about a lot since. Of course both share a graffiti quality; Twombly was the first to work with a sort of automatic drawing, beginning in the 1950s, and what he did opened up this new language for countless painters. You still see traces of it in so much contemporary art. Antoni Tapies has been a big influence on me as well, and you can see some of him in this work as well. I limited the color palette in this one as a sort of exercise in discipline, since it is easy to let color get away from you in a painting like this one. There are areas of three-dimensional paint that help flatten the picture plane and restrict the eye from reading depth into the painting; they function in the same way as Barnett Newman's 'zips' and Susan Rothenberg's lines across some of her horse images...
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