Emile Dillon

Still Ten Cents

2014

After a long, successful career with the Eastman Kodak Company as a photojournalist and editorial photographer, Emile Dillon returned to painting in 1998. As a photographer he traveled the United States, Mexico, the Caribbean, and Europe. While he’d chosen the camera for his profession, he’d grown up with oil on canvas. His grandfather was the Harlem Renaissance painter Frank Joseph Dillon and a favorite uncle was the Latin American artist Felix Vargas. Dillon’s years behind the camera and days in Soho galleries inspired him to pursue Photorealism as a style. But instead of the landscape of the exotic which he’d experienced in his Kodak travels, he was fascinated by the humble diners, motels, and vintage signs which were vanishing from American towns and cities. To perfect his craft, he studied at the School of Visual Arts and the Art Students League in New York. In an article on his work in the July 2019 issue of American Art Collector magazine, Dillon comments on his subject matter. “Somebody’s got to save these things…These places may not exist anymore in the next 100 years.” Dillon’s favorite painting in this exhibition is Dunkin Donuts...

After a long, successful career with the Eastman Kodak Company as a photojournalist and editorial photographer, Emile Dillon returned to painting in 1998. As a photographer he traveled the United States, Mexico, the Caribbean, and Europe. While he’d chosen the camera for his profession, he’d grown up with oil on canvas. His grandfather was the Harlem Renaissance painter Frank Joseph Dillon and a favorite uncle was the Latin American artist Felix Vargas. Dillon’s years behind the camera and days in Soho galleries inspired him to pursue Photorealism as a style. But instead of the landscape of the exotic which he’d experienced in his Kodak travels, he was fascinated by the humble diners, motels, and vintage signs which were vanishing from American towns and cities. To perfect his craft, he studied at the School of Visual Arts and the Art Students League in New York. In an article on his work in the July 2019 issue of American Art Collector magazine, Dillon comments on his subject matter. “Somebody’s got to save these things…These places may not exist anymore in the next 100 years.” Dillon’s favorite painting in this exhibition is Dunkin Donuts...

After a long, successful career with the Eastman Kodak Company as a photojournalist and editorial photographer, Emile Dillon returned to painting in 1998. As a photographer he traveled the United States, Mexico, the Caribbean, and Europe. While he’d chosen the camera for his profession, he’d grown up with oil on canvas. His grandfather was the Harlem Renaissance painter Frank Joseph Dillon and a favorite uncle was the Latin American artist Felix Vargas. Dillon’s years behind the camera and days in Soho galleries inspired him to pursue Photorealism as a style. But instead of the landscape of the exotic which he’d experienced in his Kodak travels, he was fascinated by the humble diners, motels, and vintage signs which were vanishing from American towns and cities. To perfect his craft, he studied at the School of Visual Arts and the Art Students League in New York. In an article on his work in the July 2019 issue of American Art Collector magazine, Dillon comments on his subject matter. “Somebody’s got to save these things…These places may not exist anymore in the next 100 years.” Dillon’s favorite painting in this exhibition is Dunkin Donuts...

Represented by George Billis Gallery. Chris Stott is part of a new generation of representational painters pushing the genre forward in fantastic ways. At first glance, Stott’s pai...

Represented by George Billis Gallery. Chris Stott is part of a new generation of representational painters pushing the genre forward in fantastic ways. At first glance, Stott’s pai...

Represented by George Billis Gallery. For twenty years, Stott has painted the same objects — typewriters, telephones, books, clocks — and over these past two decades, the intent beh...

Jill Pottle’s still life titled “Silver Pot I” is part of an ongoing series titled “Epic Still Life” and it can be sold with or without its partner, “Silver Pot II.” Pottle paints depictions of ordinary objects that may be found in our homes. In this 36 X 24 inch oil on stretched canvas with an acrylic base coat, her delight in painting this retro object...

Gemälde: Magnolien Thematisch befasst sich die Malerin Farzane Arvani mit Blumen und Räumen. Die Größe der Blumen verstärkt die Künstlerin und betont die Kraft dieser. Durch die For...

English artist Jonjo Elliot's artworks are a collision of expressionistic fauvism and his collections encourage a youthful candor. Plants thrive in environments the viewer wants to i...

Photographically accurate realism and conceptualism, peacefully coexisting on the canvases of Pavel Polanski. His canvases are gray with different depths of tone, almost monochrome a...

English artist Jonjo Elliot's artworks are a collision of expressionistic fauvism and his collections encourage a youthful candor. Plants thrive in environments the viewer wants to immerse themselves in. He’s interested in the crossover point between abstract and representational art and is constantly exploring where painting can take him and the viewer as a means of expression. This 20-inch square original painting is created with acrylic paint on canvas. It is stretched, wired, and ready to hang. The artwork is signed on the back and initialed on the side. Free local Los Angeles area delivery. Affordable Continental U.S. and worldwide shipping are available. A certificate of authenticity issued by the art gallery is included. Jonjo Elliott is a mixed-media artist working in a range of mediums, from paper and paint to skate ramps, ceramics, and chairs. Working from his studio in the UK, his vibrant works are inspired by the spaces surrounding him, and his large-scale still lives are intended to bring color and delight into the homes of his collectors. A graduate of De Montfort University, he now manages a studio in Leicester. Jonjo's immersive and lively artworks are collected extensively in the UK, the US, and throughout the world. His works have been represented by Artplex Gallery since his Los Angeles solo show in 2019. REPRESENTATION Artplex Gallery, Los Angeles, CA, USA EXHIBITIONS 2023 'Fragmented Fluorescence', Artplex Gallery, Los Angeles, CA 2022 'Slice of life', Artplex Gallery, Los Angeles, CA 'Instalive', 19 Karen gallery, Brisbane, Australia Affordable Art Fair New York City 2021 Artplex Gallery, Los Angeles 2019 Solo Show, Artplex Gallery Affordable Art Fair, New York 2018 Solo Show, LCB Depot Affordable Art Fair, London “Love Art,” Curve Theatre Roys People Art Fair, Oxo, London “Love Art,” New Walk Museum 2017 “Daily Grind,” Solo Show, LCB Depot “Permanent Fixture,” Gujiko Gallery “Steep Learning,” Curve Theatre “Staircase,” De Montefort University “Joe Orton’s What the Butler Saw...

A joyful depiction of a towering celebration cake decorated in edible wild flowers. This painting has a great deal of texture, vibrancy and character. Kerry Louise Bennett, artist and painter, has original artworks available with Wychwood Art in our gallery and online. Working from her home studio in Sheffield, Kerry Louise Bennett (b.1972) makes colourful paintings loaded with texture and pattern. Her previous lives working in set design, upholstery and photography, and her passion for music and literature, all feed into the semi-abstract interior and still life compositions she paints. In one sense the objects painted and the relationships between them can be seen as arbitrary, necessary only to serve a sense of spatial orchestration, and the abstract sensibility of a process-led artist, however, an element of romance and storytelling always seems to emerge in her charming characterful paintings. Colour and composition, strong mark-making and the pure materiality of paint drive my creative practice, but of course everything I make reveals something of me - the introvert, the observer, the dreamer. I work over multiple layers before finding the story the painting wants to tell. In some ways I feel like the conductor of an unruly orchestra - there is a musicality to my work, and my visual vocabulary draws on the everyday to capture a kind of unconscious narrative that transforms chaos into calm, worry into joy, the mundane to the magical. Kerry says of herself: I am obsessed with colour first and foremost – it’s impact is so visceral, but mark making is also important – usually expressed through pattern and the shapes of things often scratched into the surface of the paint, with textures then built up over many layers. My visual vocabulary draws on the ordinary stuff of life - chairs, plants...