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G. Campbell Lyman
Aggregate #20 (Large Abstract Contemporary Painting)

2022

About the Item

Artist's statement: "This is from a series of paintings I have done based on the Old Master technique of beginning with a thin wash and progressively building up the layers of paint. It was painted in seven stages; you can still see traces of the original stage. What I essentially did was strip down this technique to its essence. So it's a painting about process rather than subject. The important things here are color, balance and texture. But I think the end result is a vibrant and happy painting. Very large, with a lot of wall power - the largest painting I have ever done. Looks more bluish in the secondary photos than in reality - shot in natural light and the camera adjusted towards the blue - it is more white in person. I can try to send you more accurate shots if you need them." “Lyman’s work evolves restlessly, with the common elements generally being deft and unusual color choices that balance assonance and dissonance, and vestiges of the hand and facture purposely left in the paintings. The negative space is often so meticulously worked that it’s almost as if the objects – usually simple shapes – are there as much to complement the background as vice versa. Despite the often bold colors there is an elegance about his paintings that prevents them from being loud or decorative. " Artbeit Zeitschrift (On a previous series by the artist): “These paintings are a refreshing departure from the current abstract art world’s seemingly endless parade of fields of color with scribbles providing form, a style that is easily mimicked and has become a sort of “safe,” accessible go-to. There are confident decisions in these paintings appearing as commitments of strongly delineated forms and unexpected collisions of color that give the work a visceral, confident and playful soul, increasingly missing from contemporary expressionist abstraction. They are the paintings of a real painter rather than a decorative artist.” ArtSeen, 2018
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    By G. Campbell Lyman
    Located in New Orleans, LA
    Comes framed and ready to hang in black floater frame. (Note: photographed in natural light which gave the painting a bluish cast; it's more white in person. The picture shot at an ...
    Category

    2010s Abstract Abstract Paintings

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    Lacquer, Charcoal, Wax, Oil, Acrylic, Graphite

  • Multiverse #13 (Framed Contemporary Abstract Painting)
    By G. Campbell Lyman
    Located in New Orleans, LA
    Artist’s Statement: “These paintings are technically challenging, as they combine wax (encaustic), tar, oil, acrylic, powdered graphite and other media. They are painted on fiber pan...
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    2010s Abstract Abstract Paintings

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    Lacquer, Charcoal, Wax, Oil, Acrylic, Graphite

  • "Multiverse #16" - Framed Geometric Contemporary Abstract Painting
    By G. Campbell Lyman
    Located in New Orleans, LA
    Comes framed and ready to hang in black floater frame. Artist’s Statement: “These paintings are technically challenging, as they combine wax (encaustic), tar, oil, acrylic, powdered...
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    2010s Abstract Abstract Paintings

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    Lacquer, Charcoal, Wax, Oil, Acrylic, Graphite

  • "Archonic II" - Large Multimedia Abstract Painting, Framed
    By G. Campbell Lyman
    Located in New Orleans, LA
    Artist's Statement "This is a painting I made in the 90's, before my forms became more biomorphic. I was exploring simple geometric forms but with extremely complex surfaces, using ...
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    1990s Abstract Abstract Paintings

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    Wax, Tar, Oil, Acrylic

  • Lexicon (Large)
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    Located in New Orleans, LA
    Artist's Statement: "This painting harkens back to a series called "Gridish" that I created over the past couple of years, comprising similar rectangular shapes with complex surfaces incorporating tar, house paint, enamel safety paint and other materials. Here, though, the forms are isolated in negative space rather than stacked in a grid, which gives them a more iconic quality." “Lyman’s work evolves restlessly, with the common elements generally being deft and unusual color choices that balance assonance and dissonance, and vestiges of the hand and facture purposely left in the paintings. The negative space is often so meticulously worked that it’s almost as if the objects – usually simple shapes – are there as much to complement the background as vice versa. Despite the often bold colors there is an elegance about his paintings that prevents them from being either loud or decorative. " Artbeit Zeitschrift “His paintings are a refreshing departure from the current abstract art world’s seemingly endless parade of fields of color with scribbles providing form, a style that is easily mimicked and has become a sort of “safe,” accessible go-to. There are confident decisions in these paintings appearing as commitments of strongly delineated forms and unexpected collisions of color that give the work a visceral, confident and playful soul, increasingly missing from contemporary expressionist abstraction. They are the paintings of a real painter rather than a decorative artist.” ArtSeen, 2018 (from a collector): "Love your work. We collect colorists like Wolf Kahn and Jennifer Bartlett, whom I commissioned a piece from that is in the entrance of Mayo Clinic. We are old fans...
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    2010s Abstract Abstract Paintings

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    2010s Abstract Abstract Paintings

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