Debra Ramsay

Twilight & Dawn 10_9, 2c, minimalist abstract painting

2021

Sarah Brenneman is an American artist based in West Orange, New Jersey working primarily in painting. Her overarching interest lies in abstraction as a universal language and she wor...

Sarah Brenneman is an American artist based in West Orange, New Jersey working primarily in painting. Her overarching interest lies in abstraction as a universal language and she wor...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Nature-Inspired Minimalist Abstract Color Field painting on three wood panels in shades of light brown, beige, and gray Acrylic on 3 panels Each panel is 8 x 24 x 2 inches Panels can be oriented or stacked horizontally or vertically, recommended spacing between panels is 1-2 inches Overall measurement for vertical install with 1 inch spacing: 28 x 24 x 2 inches We are amazed by this artist's ability to achieve multiple flawless layers of acrylic paint, wiping it on and off with cotton cloth, to create a subtle yet distinctive woven texture on a smooth surface. The artist's work is inspired by patterns found in nature such as tree rings, rock lines, ethereal horizons, or water ripples. It appears as though a light source is originating behind the panel, glowing softly in a pale, dreamy green palette. This unique surface spreads all the way to the very edge of each panel. The 2 inch deep sides are cleanly painted white for a seamless finish. These panels hang flush to the wall by resting on two nails on either side of the panel, and can be arranged in any number of ways, highlighting the work's sculptural element. Artist's Statement: My paintings merge the detailed textures and colors found in the natural world with the linear and geometric patterns visible in industrial and architectural structures. The interplay of these elements drives the work and provides a platform for constant change and narrative. By simultaneously layering and removing paint with rags instead of brushes, my hand is directly involved with the process. Each piece contains multiple panels that evoke a nuanced and evolving universe. Ginny Fox builds up each non-representational piece with overlapping streaks of paint that frequently span two or three panels. Working with rags instead of brushes, Fox’s hand moves along parallel paths, emergent colors cascading gently towards the edges of the composition's plane. There’s something vaporous to the outer layers of the work, the interwoven strands of color offering glimpses at the painting’s earthy base and hinting at the artist’s gradual process. Having received her education from New York University in the 1970s, Fox has since exhibited throughout the United States, especially in New York City and the northeastern U.S. RESUME Solo Exhibits 2019 Winterscape Soho20 Bushwick, New York 2017 Perpetual Earth Soho20 Bushwick, New York 2015 Intimate Universe Soho20 Chelsea New York...

Born in 1951 in Los Angeles, Scot Heywood has pursued a course of non-representational, geometric abstract painting for more than 30 years. A self-taught artist, Heywood's works are ...

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 ...

Acrylic on paper mounted on wood panel. Unframed. This artwork comes from a series of divergent strategies. One of building and extending - the other of reducing and minimizing. Th...

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...

The Great Dominions (Abstract Painting) Acrylic on paper mounted on wood panel. Unframed. This artwork comes from a series of divergent strategies. One of building and extending - ...