Ashlynn Browning

Dynamo (Abstract painting)

2016

#1377 (Abstract painting) Oil on canvas on wooden panel - Unframed. Boecker begins each new work by penciling in his composition. But the work ultimately is about the colors and lay...

Ride or Die (Abstract painting) Oil on panel Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving between them as each begins to form, then isolating a work to bring to completion. Her saturated surfaces are luminous, with alternate glossy and matte layers, but also bear rough nail marks that scar and deconstruct the work. These etched lines and marks relate to an image and idea, and are often the underlying structure, the submerged language of a work. Her use of reds and pinks link to flesh and blood...

Ride or Die (Abstract painting) Oil on panel Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving between them as each begins to form, then isolating a work to bring to completion. Her saturated surfaces are luminous, with alternate glossy and matte layers, but also bear rough nail marks that scar and deconstruct the work. These etched lines and marks relate to an image and idea, and are often the underlying structure, the submerged language of a work. Her use of reds and pinks link to flesh and blood...

Clipped (Abstract painting) Oil on panel Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving between them as each begins to form, then isolating a work to bring to completion. Her saturated surfaces are luminous, with alternate glossy and matte layers, but also bear rough nail marks that scar and deconstruct the work. These etched lines and marks relate to an image and idea, and are often the underlying structure, the submerged language of a work. Her use of reds and pinks link to flesh and blood...

A gestural painting of a horse and rider landing from jumping an oxer in a large green field in sunny Florida.

Abstract, interior, landscape, animals. Oil on panel.

According to the artist, "everything in life inspires me, not quite with direct interpretation, but as I see and experience faces, words, gestures, colors and shapes – all of it – I ...

Born December 12, 1965 in New York City, Michael's father owned a fine art moving business and his mother was a playright/director. They were surrounded by a diverse crowd of artists,such as filmmaker Gary Galsworth and painter Charles Mingus Jr.. Michael’s family moved across the USA, living in Madison and Santa Fe, and finally settled on Whidbey Island in Washington State. He spent his teenage years clearing a six acre plot of land with his family and building a seven sided geodesic dome house. Michael attended The Evergreen State College from 1983-87, studying film and photography. After graduation he took his camera and, over a ten year period, traveled extensively throughout Europe. While travelling he lived with, performed with, and documented circus performers and their communities. With no formal education as a painter, Michael draws on his eclectic past for inspiration - strongly influenced by his travels throughout Spain and France and rich colors and textures marked by time. Michael moved to St. Louis in 2001, where he works as a full time artist and raises his daughter and twin boys - a lifetime dream. His artwork is collected by individuals and corporations worldwide. "My paintings are meditative studies done with rich colors and bold graphic compositions - I often incorporate circles, grids and stripes. The universality and appeal of this symbology pulls the viewer in and holds them there to explore the subtle details. I try to create work that both captivates and calms. I work with abstractions because I want to put forth something universal that can be open to interpretations that are unique to each individual and can continue to evolve over time. A common theme in my painting is the relationship between rigid linear form and the organic flow of nature, order and disorder. I feel this is reflective in many ways of our society and peoples’ longing for something more than the sterility of technology in our modern lives. I believe inclusion of these two elements creates a certain universal harmony in many of my paintings. My pieces are also about the act of painting itself. I explore the physical nature of my materials and push to use unique and original methods of applying them. Many times there is strong evidence of my physical relationship to the canvas as I paint - using my body motion as a natural pendulum and the random arcs of my markings. Other works are done on wood panels that I coat with a plaster mixture and carve into before it sets. The geometrical markings bring to mind old nautical maps...