BD Griffith Art

A brick-pink color field floats above a tan line and orange color filed on a gray/brown background. My Fermata-series paintings are quiet sanctuaries for personal reflection. Painti...

My Fermata-series paintings are quiet sanctuaries for personal reflection. Painting is my antidote to troubling times, my way of contemplating the nuanced gray areas neglected by our...

A mysterious red light emanates from a minimal field of burnt orange, crimson and maroon. My Fermata-series paintings are quiet sanctuaries for personal reflection. Painting is my a...

My Fermata-series paintings are quiet sanctuaries for personal reflection. Painting is my antidote to troubling times, my way of contemplating the nuanced gray areas neglected by our...

This painting (and poem) were inspired by a storm I witnessed while hiking: High on the mountain, Looking down, One dark cloud eclipses another, Obscuring the horizon. Throug...

My Fermata-series paintings are quiet sanctuaries for personal reflection. Painting is my antidote to troubling times, my way of contemplating the nuanced gray areas neglected by our...

This mixed-media painting is part of a series about aspects of the water cycle impacted by climate change. My work juxtaposes manmade geometry with organic natural forms. Each piece has a light and dark side and a bifurcation that references the disruption of a natural cycle by human activity. Each painting is literally made out of the landscape which it’s about. I use dyes and tannins from tree bark, leaves, and walnut husks; pigments from charcoal, mud, and vintage barbed wire...

My Fermata-series paintings are quiet sanctuaries for personal reflection. Painting is my antidote to troubling times, my way of contemplating the nuanced gray areas neglected by our increasingly polarized society. I create fields of light and darkness by staining raw canvas with layer upon layer of diluted acrylic pigments that soak into the fabric. These subtle layers of pigment reveal themselves gradually after several minutes of viewing, bringing the dimension of time to the two-dimensional surface. I also blur the distinction between object and ground to create an ambiguity of space. My intent is to create simple but elusive paintings that beckon a hectic world to slow down, pause, and reflect. DETAILS *Acrylic stain on raw canvas built up in many thin layers. The stain technique soaks into the canvas, creating a naturally velvety matte surface with neither the glare of glossy paint nor the deadening of matting agents. *There is no need to frame this painting since the edges are the same background/border color with process artifacts of the underlying colors used to stain the canvas. *This painting ships on heavy-duty stretchers ready to hang to destinations in the continental US and Canada. No hassle and expense of taking to a framer for re-stretching. *For other locations, the canvas will be removed from stretchers and shipped rolled, unless you request otherwise and pay additional shipping charges. Not responsible for taxes or duty. *Signed on the rear canvas margin along with year and artist's inventory database number for provenance. *Colors: sky blue, orange, brown, yellow ochre, rust...

A deep black color field that seems to absorb light floats on a field of purple, red, and maroon. My Fermata-series paintings are quiet sanctuaries for personal reflection. Painting...

I am interested in emergent patterns—patterns that arise unexpectedly as a result of many small units or actions acting independently. I dipped a typeface letter "o" in acrylic pa...

A delicate brown circle floating on an earth-tone color field bisected by a blue line, referencing the role of water in the desert life-cycle. My Fermata-series paintings are quie...

The Continuum series investigates the subtle gray areas between apparent dualities. I deliberately challenge traditional painting guidelines of composition, unresolved tension, and t...

This mixed-media painting is part of a series about aspects of the water cycle impacted by climate change. My work juxtaposes manmade geometry with organic natural forms. Each piece has a light and dark side and a bifurcation that references the disruption of a natural cycle by human activity. Each painting is literally made out of the landscape which it’s about. I use dyes and tannins from tree bark, leaves, and walnut husks; pigments from charcoal, mud, and vintage barbed wire...

Inspired by the long nights of winter, the cool crisp air and darkness descending over straw-colored fields at twilight and nights spent beside the fire. This painting incorporates n...

I blur the relationship between foreground and background, creating an ambiguity of light and space: what appears to be a floating sense of radiant light at a distance blends into t...