Will Henry

Dream Catcher

2018

Will Henry "Painting for Porter" 2019 Oil on linen 15 x 13 inches

Terrell James "Rinsing the Eye" 2019 Oil on linen 64 x 78 inches

Terrell James A Collective Pulse, 2022 Oil on linen 29 x 42 in (73.7 x 106.7 cm)

Gary Stephan Untitled, 1990 Oil and acrylic paint on linen 18 x 14 inches

Matt Magee Map - Spirit Level, 2020 Oil on panel 48 x 48 in (121.9 x 121.9 cm)

Matt Magee Variants, 2022 Oil on panel 48 x 48 in (121.9 x 121.9 cm)

David Kroll Vase and Nest, 2011 oil on linen 32" x 28" Artist David Kroll is known for his finely crafted paintings—precise still lives and exquisite landscapes that allude to bot...

In his first solo exhibition with David B. Smith Gallery, Leon Benn floods the main gallery with large-scale paintings bounding with vibrant colors and hallucinatory observations of ...

In "Outpost", Jacobsen’s new body of work records scenes from a year when societal boundaries where crossed and personal dreams set into motion. The paintings in this exhibition continue and expand on the ideas of Jacobsen’s 2014 exhibition, “Lean-to,” which featured artworks that invited viewers to contemplate still-life images of interiors from the artist’s domestic spaces and black and white arrangements from the artist’s workspace. While seemingly traditional still lives, the works served as the artist’s subtle critique of industrialized society. The content and technique speak to Jacobsen’s attempt to insulate himself from this very type of industrial environment and modernist influences. Jacobsen purchased a miner’s cabin in the San Juan Mountains of Colorado just prior to the legalization of marijuana, and the paintings in Outpost serve as documents of his experiments in growing this newly legal plant. In these still lifes, the marijuana plant is the central focus against a dark background, along with wild mushrooms collected on long hikes and crystals gifted from friends. These paintings hearken back to traditional Dutch paintings of tulips, itself a coveted plant in its day. Deploying the technique of lens flare, Jacobsen highlights the importance of the camera, while also referencing the religious, spiritual, and cultist motif of light symbolizing the divine. The usage of this “heavenly” light on these cannabis plants...

In Lion in the Kitchen, his second solo exhibition with the gallery, Benn reflected on the textures and potential narratives of domestic space. After spending a season indoors with h...

Inspired by scenes from iconic American landscapes, ranging from arid deserts to lush forests, Jacobsen delves into humanity’s connection to nature and the technology that often mediates that experience. Embedded in the works is the recognition of nature’s immense power in contrast to its quickening fragility. Increasingly, under threat from the continuing rollback of regulations and protections in favor of exploitation for commercial gain, the double-edged sword of technology and the legacy of Westward expansion continue into the present day. For Jacobsen, American parks act as a foil to European colonization and resource extraction. While the creation of National Parks may be one of America’s greatest innovations, in preserving these beautiful and once wild places, they are in practice reduced to roadside attractions. Jacobsen states, “By elevating these picturesque landscapes we also diminish our own place in them. No longer are we participants in the divine dance but instead menacing spectators observing from stadium...

In his first solo exhibition with David B. Smith Gallery, Leon Benn floods the main gallery with large-scale paintings bounding with vibrant colors and hallucinatory observations of ...