Mark Perry Art

Los Angeles artist Taylour Martin creates captivating abstract compositions in acrylic on canvas, showcasing a dynamic interplay of emotions and colors. Martin's art is a reflection ...

"Pushed Boundaries" Acrylic on canvas. 48 x 48" 2019 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotion and...

Russinof uses large brushes to create highly energized gestures that intimate various patterns and forms in architecture such as frames, cornices and baroque ceiling vaults. Thes...

Don Giffin (American, 1948-2003) Phone in the Desert, 1999 Mixed media painting Hand signed Don Giffin, titled and dated (verso) 76 x 52 inches. (including ...

At the heart of Macyn Bolt’s artistic practice is an interest in qualities of reflection, mirroring and contrasting perspectives that are unique to the space of abstract painting. Wi...

Acrylic on pavatex - Unframed This work is one of two earlier works consisting of brush acrylic painted pavatex. The pavatex surface is flat, the painted motive is handmade without...

Don Giffin (American, 1948-2003) Skin Deep, 2001 Mixed media on canvas Hand signed Don Giffin, titled and dated (verso) 68 x 53 inches. Provenance: from the Art Collection of the InterContinental Buckhead Atlanta Framed dimensions: 74 1/4 x 59 inches. Don Giffin, Born in Chicago in 1948, Giffin earned his bachelor’s and master’s degree at what is now Cal State Northridge. An abstract painter who expanded the Southern California modes of “color and light” and “finish fetish” art, melding impressions of photography, printmaking and painting into a single work. Giffin, a master printmaker as well as a painter. In 1995 he mounted the first of his five solo exhibitions at the Christopher Grimes Gallery in Santa Monica. David Pagel described the artist’s work in a Los Angeles Times review as perfectly smooth, glass-like surfaces when viewed from afar that seemed to decay as one approached. They make pain palpable and evoke mortality’s inevitability, Pagel wrote of Giffin’s creations, which used layers of paint, gesso and tar that he pulled apart as they dried. “His corporeal abstractions bypass your mind to hit you in the stomach.” Giffin was one of 10 Los Angeles, California artists whose work was featured in the 1997 Biennial of the Orange County Museum of Art. (including Robert Blanchon, Jessica Bronson, Julia Couzens, Terri Friedman, Don Giffin, Dennis Hollingsworth, Carlos Mollura, Carter Potter, Monique Prieto, and Chris Wilder.) In reviewing that exhibition for The Times, Cathy Curtis wrote: Don Giffin reinvents stain painting by layering color in such a way that it emits an inner radiance verging on iridescence. The artist continued to push boundaries, and when he displayed his 6 X 5-foot acrylics at the Grimes Gallery in 2000, Pagel described them as mesmerizing works. The cross-fertilization between painting and photography that has been cropping up in some of the most intriguing works being made today takes breathless shape in Don Giffin’s physically resplendent paintings,” the critic wrote. “When I work,” he once said, “it’s like I’m doing a dance with the painting, and I’m not always leading. When the imagery is mysterious, the surface is perfectly smooth and the color contrast is just right with that glow of pale color coming through it’s sheer delight. Finish Fetish denotes a style of art related to the LA Look, pop art, minimalism, and light and space originating in southern California in the 1960s. Artwork of this type often has a glossy and slick finish and features an abstract design on a two-or three-dimensional surface made from fiberglass or resins. The style is similar to the simplicity and abstraction of minimalism and the bright colors and reference to commercial products found in pop art. To the world of postwar art it was a substantive addition. Artists included Peter Alexander, Larry Bell, Billy Al Bengston, Judy Chicago, Joe Goode, Robert Irwin, Craig Kauffman, John McCracken, Kenneth Price, DeWain Valentine...

"Pushed Boundaries" Acrylic on canvas. 48 x 48" 2019 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotion and...

Acrylic collage on Fabriano-pittura - Unframed In her work, Lee is responding to her emotional experiences within her physical surroundings. Color is her primary visual language. Fo...

Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tran...

Acrylic on paper. Unframed. This piece comes out of the more informal Painting A Day series. While these are more interested in scale, stroke, and surface, they also carry with them...

Acrylic on anodized aluminum - Unframed Using mediums such as markers, watercolors and acrylics, Hallard constructs monochromatic and semi-monochromatic images of recognizable geome...