Shawn Dulaney

Yellow Row: Abstract Yellow and Pastel Robin's Egg Blue Landscape Painting

2019

60 x 48 inches mixed media and plaster on wood panel This contemporary, large vertical abstract expressionist & symbolist style painting was created by Hudson Valley based artist, R...

Abstract landscape of a floral leaf motif with a patina of dark silver and dark bronze "Abstract Flora III", painted by Frank Faulkner, c. 2010 60 x 48 x 1.5 inches, acrylic on wood panel Wire backing for secure installation Signed, verso This minimalist abstract landscape was painted by Frank Faulkner in 2010-12. The artist captures a scene of an abstract floral motif with long leaves that fan outwards. The subject in the center is framed with a vignette of dark fern leaves around the edges of the painting. The floral motif and leaves are constructed with built up acrylic that creates an impasto surface, similar to a relief. The painting is unframed and the edges reveal drips from the layers of paint applied the surface. More about the work: Revered artist and designer Frank Faulkner was well known among locals for his handsome restorations of prominent historic proprieties on Hudson’s Warren Street and beyond. It is apparent that the applied arts like classical architecture, Persian rugs, chinoiserie, and Samurai armor greatly influenced his own painting style. His technique employs a rich variety of texture and color evoking the qualities of mosaics and tapestry. According to the artist, the paintings on view experiment with representational imagery. Central designs are positioned in spaces suggestive of landscapes where the settings utilize horizon lines and natural, atmospheric light. Organic compositions take their cues from natural flora endowed with fantasy, which intentionally disorient the viewer. These works present the argument for the imaginary versus the empirical world. About the artist: Born in Sumter, South Carolina in 1946, Frank Faulkner received his B.F.A. from the University of North Carolina in 1968, Phi Beta Kappa, and his M.F.A. from the same institution in 1972. Faulkner’s work quickly won him numerous grants and awards, including an individual artist grant from the National Endowment for the Arts in 1974. He was selected for the Whitney Biennial in 1975, which prompted him to settle in New York. There, he came to the attention of Dorothy Miller, Curator Emeritus of the Museum of Modern Art with a legendary eye for new talent. Since then, Faulkner has continued to garner acclaim and awards. He has been featured in dozens of one-person exhibitions (not to mention group exhibitions) in this country, as well as in Japan, Switzerland, and Germany. Faulkner’s work is owned by leading museums (the Smith College museum in Northampton, Massachusetts, for example, the National Museum of American Art and the Hirshhorn in Washington, D.C.) and by renowned collectors such as Nelson Rockefeller, Baron Leon Lambert, Phillip Hanes and Abba Eban. What a viewer first notices is the sheer elegance of the pieces, no matter what materials Faulkner uses—metal, wood and fabric as well as canvas and paper. Obvious, too, is the artist’s originality. Faulkner belongs to no school. His work is patterned but is far too intellectual to qualify as so-called “pattern art,” which mainly strives to be merely pretty. Rather, he paints in his own highly organized way, filling the surface without being excessive or boring. Faulkner sets up a system, say, of dots or dashes, then subtly changes the visual rhythms in order to add life and surprise—what he calls “the gymnastics of seeing.” He works and reworks the surfaces of his canvases, often laying down one thin layer of slightly reflective gold, silver or bronze paint upon another until the final work seems to glow with inner light. John Ashbery, a leading critic and poet, has likened Faulkner’s art to minimalist music, which achieves both simplicity and beauty from its obsessive repetitions. The critic Carter Ratcliff describes it more simply as “brilliant artifice.” Faulkner’s current work, a series of paintings on paper, continues and deepens this exploration of the relationship between wrought surface and changing light. Another striking aspect of the work is the influence of the decorative arts. Faulkner has made some paintings on wood that stand independently and fold open like screens. Other pieces resemble large tapestries, and yet others take their inspiration from Art Nouveau inlays...

Abstract landscape of fern leaves in a dense forest painted in dark gold and bronze against black and muted turquoise "Chasm", painted by Frank Faulkner, c. 2007 60 x 48 x 1.5 inches, acrylic on wood panel Wire backing for secure installation Signed, verso This minimalist abstract landscape was painted by Frank Faulkner in 2007. The artist captures a scene of an abstract floral motif of gilded fern leaves in dark gold and bronze against a dark forest landscape. The floral motif and leaves are constructed with built up acrylic that creates an impasto surface, similar to a relief. Silhouettes of hands painted in black and white polka dots are captured behind several of the leaves, further accentuating the painting's alluring textural quality. The painting is unframed and the edges reveal drips from the layers of paint applied the surface. More about the work: Revered artist and designer Frank Faulkner was well known among locals for his handsome restorations of prominent historic proprieties on Hudson’s Warren Street and beyond. It is apparent that the applied arts like classical architecture, Persian rugs, chinoiserie, and Samurai armor greatly influenced his own painting style. His technique employs a rich variety of texture and color evoking the qualities of mosaics and tapestry. According to the artist, the paintings on view experiment with representational imagery. Central designs are positioned in spaces suggestive of landscapes where the settings utilize horizon lines and natural, atmospheric light. Organic compositions take their cues from natural flora endowed with fantasy, which intentionally disorient the viewer. These works present the argument for the imaginary versus the empirical world. About the artist: Born in Sumter, South Carolina in 1946, Frank Faulkner received his B.F.A. from the University of North Carolina in 1968, Phi Beta Kappa, and his M.F.A. from the same institution in 1972. Faulkner’s work quickly won him numerous grants and awards, including an individual artist grant from the National Endowment for the Arts in 1974. He was selected for the Whitney Biennial in 1975, which prompted him to settle in New York. There, he came to the attention of Dorothy Miller, Curator Emeritus of the Museum of Modern Art with a legendary eye for new talent. Since then, Faulkner has continued to garner acclaim and awards. He has been featured in dozens of one-person exhibitions (not to mention group exhibitions) in this country, as well as in Japan, Switzerland, and Germany. Faulkner’s work is owned by leading museums (the Smith College museum in Northampton, Massachusetts, for example, the National Museum of American Art and the Hirshhorn in Washington, D.C.) and by renowned collectors such as Nelson Rockefeller, Baron Leon Lambert, Phillip Hanes and Abba Eban. What a viewer first notices is the sheer elegance of the pieces, no matter what materials Faulkner uses—metal, wood and fabric as well as canvas and paper. Obvious, too, is the artist’s originality. Faulkner belongs to no school. His work is patterned but is far too intellectual to qualify as so-called “pattern art,” which mainly strives to be merely pretty. Rather, he paints in his own highly organized way, filling the surface without being excessive or boring. Faulkner sets up a system, say, of dots or dashes, then subtly changes the visual rhythms in order to add life and surprise—what he calls “the gymnastics of seeing.” He works and reworks the surfaces of his canvases, often laying down one thin layer of slightly reflective gold, silver or bronze paint upon another until the final work seems to glow with inner light. John Ashbery, a leading critic and poet, has likened Faulkner’s art to minimalist music, which achieves both simplicity and beauty from its obsessive repetitions. The critic Carter Ratcliff describes it more simply as “brilliant artifice.” Faulkner’s current work, a series of paintings on paper, continues and deepens this exploration of the relationship between wrought surface and changing light. Another striking aspect of the work is the influence of the decorative arts. Faulkner has made some paintings on wood that stand independently and fold open like screens. Other pieces resemble large tapestries, and yet others take their inspiration from Art Nouveau inlays...

Abstract geometric painting inspired by the architectural principles of Adolf Loos and the De Stijl art of Piet Mondrian "Loos", painted by Hudson Valley artist, Joseph Maresca in 2...

"Color Field 619", painted by Tracy Helgeson in 2022 18 x 14 x 2 inches, oil on wood panel Ready to hang as is, no frame required, edges of the panel are painted soft black Artist si...

Horizontal, monochromatic impressionist style navy blue abstract landscape oil painting on canvas "Saw Mill" painted by Richard Britell in 2020 oil on canvas ...

Shawn Dulaney The Virtues IV Handmade paint on venetian plaster on paper, signed and titled verso 22 x 30 in. (sheet), 28 1/4 x 36 1/4 in. (frame). Shawn Dulaney’s paintings are layered constructions of color, spacious abstractions that read like cloud banks, flows of water, magnetic fields charged with monumental energy. Dulaney spent her childhood on a vast Colorado plateau looking west to the Rocky Mountains and has travelled widely, immersing herself in landscape. Her work captures the experience and feeling of place. Doug McClemont of ArtNews writes that Dulaney’s paintings “concern the earth, and the unyielding hand of nature”. Her work has been described by William Zimmer of The New York Times as belonging to “a very strong tradition, that of 19 th -century Northern European Romanticism in which nature was seen as corresponding to human emotional states.” He says of her work, “Ms. Dulaney makes it clear that her inner life is very much a part of each painting, and this alone distinguishes it from most abstraction…Shawn Dulaney is deliberately out for grandeur, but she is also out for intimacy. Her paintings take advantage of their innate ambiguity and declare themselves to be very current in the thinking that lies behind them.” "The kind of painting to which Ms. Dulaney's work is most closely related, at least superficially, is the Mark Rothko branch of Abstract Expressionism, in which a sense of deep space is sought." Dulaney makes handmade paints consisting of acrylic medium and powdered pigments allowing her to get a wide range of saturations and transparencies as they spread out on Venetian plaster and linen over panel. “Her surfaces”, as described by Dominick Lombardi-also of The New York Times, are “exquisitely painted and a pleasure to see.” Dulaney continues to travel between New York, the American Southwest, and the United Kingdom, as well as having recently been awarded the Pink House Artist Residency on the Beara Peninsula in Ireland. Her paintings capture the ephemeral and evoke the Celtic notion of a “thin place”, a place of energy where the veil between this world and the eternal is thin. A working artist for over 4 decades, Dulaney is represented by Sears Peyton Gallery, Weber Fine Art, Carrie Haddad Gallery and Beth Urdang Gallery. Exhibited widely, her paintings can be found in extensive public and private collections including those of the Hunterdon Museum of Art in NJ, the Venetia Resort in China, J Crew in NYC, as well as in the private collections of author Annie Proulx, actor Steve Buscemi, talk-show host Conan O’Brien and musician Stuart Copeland. Her work has appeared in episodes of TV’s Enlightened, Portlandia and Sex & the City, and the films It’s Complicated (2009), Interview (2007) and John Wick...

Shawn Dulaney The Virtues III Handmade paint on venetian plaster on paper, signed and titled verso 22 x 30 in. (sheet), 28 1/4 x 36 1/4 in. (frame). Shawn Dulaney’s paintings are layered constructions of color, spacious abstractions that read like cloud banks, flows of water, magnetic fields charged with monumental energy. Dulaney spent her childhood on a vast Colorado plateau looking west to the Rocky Mountains and has travelled widely, immersing herself in landscape. Her work captures the experience and feeling of place. Doug McClemont of ArtNews writes that Dulaney’s paintings “concern the earth, and the unyielding hand of nature”. Her work has been described by William Zimmer of The New York Times as belonging to “a very strong tradition, that of 19 th -century Northern European Romanticism in which nature was seen as corresponding to human emotional states.” He says of her work, “Ms. Dulaney makes it clear that her inner life is very much a part of each painting, and this alone distinguishes it from most abstraction…Shawn Dulaney is deliberately out for grandeur, but she is also out for intimacy. Her paintings take advantage of their innate ambiguity and declare themselves to be very current in the thinking that lies behind them.” "The kind of painting to which Ms. Dulaney's work is most closely related, at least superficially, is the Mark Rothko branch of Abstract Expressionism, in which a sense of deep space is sought." Dulaney makes handmade paints consisting of acrylic medium and powdered pigments allowing her to get a wide range of saturations and transparencies as they spread out on Venetian plaster and linen over panel. “Her surfaces”, as described by Dominick Lombardi-also of The New York Times, are “exquisitely painted and a pleasure to see.” Dulaney continues to travel between New York, the American Southwest, and the United Kingdom, as well as having recently been awarded the Pink House Artist Residency on the Beara Peninsula in Ireland. Her paintings capture the ephemeral and evoke the Celtic notion of a “thin place”, a place of energy where the veil between this world and the eternal is thin. A working artist for over 4 decades, Dulaney is represented by Sears Peyton Gallery, Weber Fine Art, Carrie Haddad Gallery and Beth Urdang Gallery. Exhibited widely, her paintings can be found in extensive public and private collections including those of the Hunterdon Museum of Art in NJ, the Venetia Resort in China, J Crew in NYC, as well as in the private collections of author Annie Proulx, actor Steve Buscemi, talk-show host Conan O’Brien and musician Stuart Copeland. Her work has appeared in episodes of TV’s Enlightened, Portlandia and Sex & the City, and the films It’s Complicated (2009), Interview (2007) and John Wick...

Collaged Scientific American articles, plaster, acrylic and graphite on handmade wooden panel Artist's Statement: Liquefaction describes the phenomenon whereby a saturated or parti...

(Note to collectors: 1stDibs has graciously given us dealers promo codes for 15% off that we can offer you, in order to help artists, dealers and collectors keep art alive through th...

Collaged Scientific American articles, plaster, acrylic and graphite on handmade wooden panel. Artist's Statement: "Despite the advances we’ve made in technology, there’s something...

Artist's Statement: "Embracing the dynamism of a changing landscape as viewed through 'geologic time,' EARTH THROUGH TIME references 650 million years of transmutation in the Provid...