Derek Buckner

The Watchers #12

Karen Woods paints a traveler’s view through the window of a moving vehicle rendered in subtly nuanced gestures in oil on canvas or panel. These views from...

Karen Woods paints a traveler’s view through the window of a moving vehicle rendered in subtly nuanced gestures in oil on canvas or panel. These views from...

Represented by George Billis Gallery, NYC & LA --Every painting begins with a place to stand. Sometimes I find one in seconds; sometimes the hunt goes on for many seasons. A canvas can easily frame the everyday. But my task is to trap the exceptional. Whether I am outside on site, or in the studio working from memory, painting is a personal, idiosyncratic process founded in obsession, and wonder. "My subjects are genuine locations. They all have names, and many have familiar and private associations. But my attraction to a particular street or building often comes, in part, from a suspicion that it is also, in a sense, nameless. I nurture enduring relationships with a terrain. But for me, a particular motif resonates when it seems eligible for a larger catalog of spatial forms. My paintings are less portraits of Brooklyn than pages in an expansive, borderless inventory of space and light. Their index-like titles and typically symmetrical or balanced compositions intend to hint at something of the monumental, appropriate to a classifying program. It is neither the landscape's planning nor its architecture which conjures the shapes I paint. Rather, it is its observation; it is how a place appears that forms a distinct typology. At street level, tight, box-like canyons of space offer motifs best captured in a square format, while aerial, panoramic views from a rooftop invite me to explode them in a wider canvas. When looking around to frame a wider view, the optical distortions of curvilinear perspective weave parallel lines into trajectories mirroring the dome of the sky. And on a clear day, the path of the sun traces analogous curves across it. Only turning achieves a panoramic view, and sky and street are themselves revealed as events. At times, glare, fog, rain and snow are also deliberately organizing factors in my choice of standpoint. I wait for and design with all of them. Land maps posit an objective viewpoint. But star maps...

Represented by George Billis Gallery, NYC & LA --Every painting begins with a place to stand. Sometimes I find one in seconds; sometimes the hunt goes on for many seasons. A canvas c...

Original Mid Century Pen and Ink on Paper "Cowboy and Bronco" Western Genre Compelling pen and ink western picture of Cowboy wrangling the bro...

Laura Von Rosk’s Holding (2024) from her evocative Fence series, invites viewers into a surreal landscape where order and tension meet in delicate balance. Featured in the Pushing Bo...

"Have you wondered what the house plants do when you leave and they are the house sitters?" Arriving March 28 2025 House Sitters oil on Yupo paper Floral Plant 30” x 45” 31 1/2” x ...

"Aftermath Hurricane Laura" is a plein air landscape painting featuring hues of blue, green and brown. This work is oil on canvas paper, framed in a silver frame with mat measuring 23 by 25 inches. Kathryn Keller is inspired by the works of George Inness, Edward Hopper, Giorgio Morandi & Alexander Drysdale. Kathryn Keller is a painter based in New Orleans and Alexandria, Louisiana. She received a BA in Fine Art and English from the University of the South...