G. Campbell Lyman

Angelique in Narbonne

2020

Artist's statement: "Separate from the tar paintings I have been doing, I am creating a series of work in which I am channeling some of the things I have always loved about Cy Twombly along with qualities of a painting I saw in a local collection by a Cuban painter that I really admired and have thought about a lot since. Of course both share a graffiti quality; Twombly was the first to work with a sort of automatic drawing, beginning in the 1950s, and what he did opened up this new language for countless painters. You still see traces of it in so much contemporary art. Antoni Tapies has been a big influence on me as well, and you can see some of him in this work as well. I limited the color palette in this one as a sort of exercise in discipline, since it is easy to let color get away from you in a painting like this one. There are areas of three-dimensional paint that help flatten the picture plane and restrict the eye from reading depth into the painting; they function in the same way as Barnett Newman's 'zips' and Susan Rothenberg's lines across some of her horse images...

(Comes framed in a deep-profile maple or black floater frame, ready to hang.) Artist's Statement: "This painting harkens back to my 'Gridish' series but with more negative space, a broader array of media and more complexity to the oval forms. I have tried to create tension between these iconic forms through the divergence of dissonant and unusual materials, colors and textures. These ovals keep reappearing in my work; they seem almost like groups of silent but sentient beings to me." “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...

(Comes framed in a deep-profile maple floater frame, ready to hang.) Artist's Statement: "I was working on my loose, almost graffiti-like "Rosetta" series when this painting took a turn towards formality, and instead of trying to wrench it back into the Rosetta mold I just let it go where it wanted to. Has my usual insane assortment of mediums . . . " “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...

(Comes framed and ready to hang in a high-profile maple frame.) Artist’s Statement: “I have been working on more formal and restrained paintings lately, and decided to loosen up by ...

This is one of a series we have posted on 1stDibs. The first got more clicks and saves on its first day than any of the many hundreds of artworks we have ever posted. If you search on "G. Campbell Lyman" on 1stDibs you can see others in this series. Here's a recent message from a 1stDibs buyer of a painting in this series, a seasoned 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...

(Comes framed in a maple floater frame, ready to hang.) This is one of a series we have posted on 1stDibs. The first got more clicks and saves on its first day than any of the many hundreds of artworks we have ever posted. If you search on "G. Campbell Lyman" on 1stDibs you can see others in this series. Here's a recent message from a 1stDibs buyer of a painting in this series, a seasoned 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...

The view across St Ives harbour.
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Artist Statement on “Houseplants” series: The following project began towards the end of 2017. The transition from my previous work (abstract expressionist paintings that explored processes related to my athletic practice) may seem spontaneous, but it was something that happened quite naturally for me after an ankle injury I suffered in June of that year. From a very active daily routine I was forced quite abruptly into a sedentary one. While being inactive was a circumstance that made me feel very uncomfortable and uneasy not only physically, but also emotionally, it was one that is so common - and comfortable - for the ever expanding digital society. Without realizing that I was beginning a new body of work I was drawn by a deep urge to painting humans as some sort of inanimate object. A houseplant I thought, a wild organism domesticated. I had a few ideas for the figures in mind and knew the composition would be set in an environment that can neither be recognized as indoor or outdoor, but without clear ideas of the final pieces. Having only rough pencil sketches to start from allowed the work to have elements of spontaneity and life, but also required perseverance to see them through to an unknown end. I experiment directly on the canvas with form and color until the subjects feel right (not necessarily anatomically, but rather aesthetically). Thereon changes continue until, upon stepping away from the work, the sum of its elements evoke a sense of harmony; sometimes on purpose, sometimes by mistake. This is in many ways a continuation of the processes I practiced in my previous work, only applied to a new subject. By embracing mistakes, and responding to aesthetic decisions on the canvas directly the painting begins to form harmony through trial and error, building simultaneously texture and depth, and maintaining an expressive quality. About the artist: Magdalena Paz...

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Graphic romantic– Part 1 (Abstract painting) Acrylic, charcoal and pastel on raw canvas - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound se...