Andrew Lui

To Jerusalem III - fluid, figurative abstract, acrylic, ink on rice paper

2009

In this magnificent sensual abstract painting by Andrew Lui, grand gestural brushstrokes create nude human figures who appear to emerge from a riot of colour. In 'The Tall Ladies', t...

Horses and riders swirl in this dream-like narrative in brilliant yellow, orange nad indigo by Andrew Lui. The artist creates fluid lines using ink and acrylic on rice paper that is ...

Abstract artist Andrew Lui’s ethereal work is rooted in history; that of his own in China and the world around him. Lui’s fluid lines and vivid colours were influenced by his love of...

Existing in an amorphous space between abstraction and figuration abstract artist Andrew Lui paints with the fluidity of eastern calligraphy. Brilliant and energetic strokes of yello...

Dynamic black and gray strokes of acrylic paint give the impression of galloping horses in this abstract painting by Andrew Lui. Lui continues to use the expressive and elegant movem...

This large scale dynamic gestural painting in grey scale is part of Andrew Lui's ‘Pilgrims Progress’ series. The painting depicts a horse and rider, a metaphor for the human journey ...

Flat is Ink and Oil and Varnish on Wood Panel inspired by the Hawaii Flatfish. It is 20x20 filled with red, orange, black and green. Carol Bennett spends all of her time surrounded...

78” x 42” ink and watercolor on paper, signed on reverse by the artist, Jesse Lambert. The abstract ground of washes of green, blue, orange and rose tones over white create an active field of color. The imagery of hummingbirds and bird feeders amongst graphic representation of trees, leaves and branches are created with defined black inkwork lines. Pattern and repetition with the vertical tree trunks, are intersected with cross sections of lumber with beautiful wood grain. This large scale painting is featured in "Shelter, Scatter, Feed" a solo show of new works by Jesse Lambert. Front Room Gallery is proud to present a solo exhibition of new works on paper by Jesse Lambert, titled, "Shelter, Scatter, Feed". This is Jesse Lambert’s second solo show at Front Room Gallery. In this exhibition, Lambert continues to explore themes of shelter, safety, and the passing of time. His ink and watercolor paintings on paper depict abandoned scenes in an abstracted rural space. In previous works, Lambert combined the spaces of domesticity and the natural world, with an occasional appearance of the human figure. His new work contemplates the new reality under COVID-19, and continues to evoke the universal need for shelter and protection. In these paintings Lambert imagines the world abandoned by human inhabitants, reclaimed by nature- as if the world has moved on, without us. In this series, 
Lambert’s familiar color washes have taken on a more natural hue. Lambert presents a grouping of medium sized paintings which explore the theme of birdhouses as a metaphor for human needs. The birdhouses are falling apart or incomplete, dysfunctional structures failing to meet their stated function. In his larger paintings, remnants of built structures of unknown use are scattered across a forested setting. Strips or planks of wood are nailed to tree trunks. A broken ladder promises ascent, but falls apart. Fragments of wood and string hint at former use, yet all vestiges of functionality have disappeared. Abandoned bird feeders swing precariously. Within the chaos of darting birds, falling leaves and flowers, and remnants of built space, a pattern almost emerges. These paintings emote a feeling of webbed interconnectedness that reveals the beauty of decayed things, and an allure of the poignancy of impermanence. In a series of smaller black and white drawings...

Alongside my wife Nansi, I have been lucky to explore some of the most beautiful and pristine coral reefs in the world. People often think we take pictures of the corals and paint them, but that is far from our process, which involves (at least in this case) working from an abstract design and weaving in memories and imagination until I had this image resolved. This painting is scheduled to be a part of our (Nansi’s and mine) international museum exhibition highlighting the beauty and fragility of our coral reef ecosystems, kicking off at the new ICONIC Museum in Texas in 2024. David C. Gallup has devoted his life to the study, teaching, and creation of art. He graduated from Otis/Parsons in Los Angeles in 1990, and soon found himself supervising a staff of over thirty artists under pop art legend Hiro Yamagata on the Earthly Paradise collection and other projects. He began plein-air painting on mornings, weekends and after work, and eventually left his friend and patron Yamagata to pursue a career as a gallery artist. For over a decade, he was the Vice President of the historic California Art Club...

The ocean never sleeps. For pelagic species such as Blue Trevally this is especially true. While few have the desire to swim in open water at night, these fish have no choice… the ...

I am always fascinated with human perception - you could say that it is why I became an artist. One of the most elusive qualities of perception, and therefore one of the greatest ch...

Just Starting Out, by Melanie Yazzie, Navajo, painting, collage, horse, green