G. Campbell Lyman

Promised Land

2020

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

The artist constructs his spirit animal through mixed media. 48" x 60" Spray Paint, Oil, Construction Paper, Acrylic, Pastel, Marker

The view across St Ives harbour.
 Colin Taylor’s expressive paintings are created with oil, acrylic, pastel and charcoal on linen. Wooden Tray Frame Oil Acrylic Paint,Linen, pastel...

Contemporary mixed media (acrylic, pastel, pencil, and collage) abstract floral painting by emerging artist Federica Aiello Pini, exploring nature...

This painting is part of a series that is influenced by trying to find simplicity and beauty in todays chaotic world. I start each painting with a feeling; hope, despair, happiness, ...

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...

In "Tipping point", Pierre Morquin invites us on a journey into the world of abstract expressionism. The canvas is dominated by vivid colors and dynamic shapes that intersect and ove...