Elizabeth Gourlay

Blueviolet (Abstract Painting)

2021

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...

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 - ...

Untitled (B2), 2015 (Abstract Painting) This work is one of two similar works consisting of acrylic painted MDF of the same size. Based on a regular geometric pattern, the work is ...

This work is one of two similar works consisting of acrylic painted MDF of the same size. Based on a regular geometric pattern, the work is playing with proportion, repetition, symm...

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...

Shout 2 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connectin...

acrylic on linen 10 x 12 x 12 inches each Louise Blyton is a reductive artist exploring the romance of raw linen and dry pigment. The artist’s geometri...

acrylic on gessoed linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attende...

Acrylic on linen Signed verso

Johnnie Winona Ross Deep Creek Seeps 10, 2007 Oil paint on acrylic base burnished on Belgian linen Signed twice, dated and titled on the verso; also bears the original Stephen Haller Gallery label\ Canvas is stretched against wooden backing but no outer frame This work was originally sold by the Stephen Haller Gallery which hosted several critically acclaimed, sell-out shows of New Mexico resident Johniie Winona Ross, whose exquisite Minimalist aesthetic really took hold with collectors. The debt to famous New Mexico resident and Minimalist goddess Agnes Martin is obvious, but Winona Ross has a disctinctive style and technique of his own. The process of creating this work was laborious: Ross typically applies as many as 90-100 layers of paint to each canvas, then scrapes the surface with a straight-edged razor to reveal the many layers (and their chronology), and finally burnishing the surface with a Pueblo pottery stone to achieve a soft gloss. Maureen Mullarkey of Studio Matters wrote in 2010: THE LOVELINESS OF JOHNNIE WINONA ROSS' paintings elude translation into either reproduction or verbal description. In 2011, ArtDaily published this announcement from Stephen Haller, publicizing a later exhibition: "Washington Post critic Stephen Parks characterized Ross’s work in this way: “From a distance his canvases appear to be simple, minimal constructions of horizontal stripes with hints of vertical color in the background. Up close the paintings are seen to be extraordinarily beautiful and complex objects that induce a humming meditative state.” Ross grounds his work in the inspiration of the desert of the American Southwest, and borrows techniques from ancient Native American sources, melding them with a distinctly sophisticated and utterly contemporary vision. His use of the Native American technique of burnishing pigment and minerals with a potter’s stone to create a hard surface with a visually warm sheen creates an effect reminiscent of the softening of marble steps...

An original acrylic on linen canvas by American artist Martica Miguens. The artist's estate was recently unearthed and acquired by Benjaman Gallery. ...

An original acrylic on linen canvas by American artist Martica Miguens. The artist's estate was recently unearthed and acquired by Benjaman Gallery. Miguens was relatively unknown ...