Ashlee Selburg

Garden Party II

2023

Ashlee received her BFA with a Minor in Art History from University of Missouri-Columbia in 2012 and has been exhibiting and selling her artwork for the past twelve years. When she’s not making art, Ashlee loves to get lost in her garden with her four year old son where they battle pirates on lost islands, fly with dragons around kingdoms in the sky, and search lush jungles for purple tigers.

ASHLEE SELBURG Hover Ink and pencil on paper 20 x 16 inches

ASHLEE SELBURG Umbrella Stand Ink and pencil on paper 30 x 26 inches

ASHLEE SELBURG Hummingbird House Ink and pencil on paper 14 x 11 inches

This artwork "Still Life #3" 1989 is an original color lithograph by American artist Audean Johnson. It is hand signed and numbered 227/275 in pencil by...

Provenance Acquired by the gallery directly from the artist Artist Statement “ 'At Home in the Garden' is a visual daydream manifesting a peaceful retreat before the viewer. The viv...

Luis Miguel Valdes (Cuban, 1949) "Garden", 2015 Oil and Acrylic on Canvas 53 × 78 in Unframed Luis Miguel Valdés, Biography Luis Miguel Valdés, a renowned Cuban painter and printma...

Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight, and Sarah Peters...