Jeremy Gardiner

Vibrant Red Abstraction by Jeremy Gardiner

1986

Daniel Lergon (German, b. 1978) Untitled, 2012 Lacquer on retroflective fabric 47 1/2 x 39 1/4 in. Signed verso: Daniel Legon 2012 Provenance: Galerie...

Marc Dugain (French, b. 1946) Untitled, 2011 Acrylic on paper Sight: 13 x 11 in. Framed: 28 3/4 x 24 1/2 x 1 3/4 in. Dated and signed bottom: XI Dugain

Red Hammond (American) The Klue, 1986 Oil on canvas 65 1/4 x 53 1/2 x 1 1/2 in. Signed, dated, and inscribed verso Artist statement sourced from Red Hammond's website: ORIGINALITY As an artist I put myself into the piece of art not to achieve originality for its own sake, but to be honest to, to follow the work. Immersion in the making ensures that the work will be authentic -.that its uniqueness allows the work to emanate its own light, encouraging the viewer to look and to see. While not initially apparent, my paintings typically have numerous, subtle inflections that are often hidden at first glance because the large primary, usually black forms, are strong and register first. SHAPES AND EMOTIONS I place significant emphasis on my ability to invent personal shapes. When put together, they establish a dialogue within the painting. I start without any preconceived idea for the painting and do not work from drawing in order to maintain the spontaneity and challenge to work through a solution - to remain fresh and capable of creating surprises for both myself and the viewer. Working instinctually, , I grope around, figuring out how the feelings I have manifest themselves in a specific shape or shapes and how to achieve the overall mood I’m searching for in a particular piece. SYMBOLS AND MEANING I build a painting with symbols that go beyond words, creating works that may appear somewhat opaque, mysterious, at times. This encourages engagement on the part of the viewer and allows each viewer to arrive at their own ideas concerning the works’ meaning. Viewers of art often confuse subject matter with content. A cow in a field is a cow in a field - that is subject matter. Content is what the artist puts in of him or herself. That is an intangible that is difficult to decipher. I find the early work of the American abstract expressionists and the artifacts and ritual art of indigenous peoples and tribal cultures to be inspirations. COMPLETION Often I’m sure that I have completed a painting and for that moment in time I probably have. Sometimes, however, hours, days or several years later, I look at again and realize that while I was correct for that moment, the painting’s potential was never realized. So I begin the process of working that painting again, and this process can go on for years until I’ve finally got the painting to where it needs to be in order for it to be fully realized. ART AS THERAPY AND DISCOVERY Like life, art is not just about self-improvement but also about self-discovery. If I’m not working on getting better as a painter, improving my paint application or pushing myself to expand my limits as a person, I feel I’m letting myself down and falling short of my potential as an artist. Each day in the studio is a mini-metaphor for life that demands and rewards patience.… Without it, I end up with a big...

Roger Williams (b. 1945) Untitled Oil on canvas 32 1/2 x 32 1/2 in. Framed: 33 1/4 x 33 in. Signed and dated verso: Roger Williams 74 Roger Williams was an American artist that work...

Pigments, sand glue & acrylic on wood

Dashes of charcoal and black dance on a fiery red ground in this emotive acrylic painting by Lynne Fernie. Lynne Fernie is a Toronto-based artist, OCAD University honors graduate an...

Fiery abstract painting mainly red with dents and gold/copper tones. Ready to hang and signed in front. I include a certificate of authenticity that lists the materials as well as...

The visible of the invisible - Red composition is an original contemporary artwork realized by Italo Bressan in 1989. Mixed colored screen print. Hand ...