Patrick Guyton Art

Abstract minimalist three-dimensional wall sculpture in light grey and black "Please Leave Us Alone" by Dai Ban, 2020 29 x 24 x 10 inches Precision board, Venetian Plaster, Beeswax, Pigment Lightweight sculpture (weighs about 5 lbs.) and hangs on the wall with a French cleat Excellent condition and ready to hang as is Signed, verso This contemporary, abstract horizontal wall sculpture...

Pre-Johnsonian Equilibrium 2019 Encaustic wax, rust & oil colour on deep-fame board 600 x 600 mm

In creating this artwork, I explored the juxtaposition of the vintage and modern, the real and the imagined. Using collage materials juxtaposed with delicate pencil and bold ink, I s...

David Hockney Rake's Progress Bedlam Cufflinks, 2020 Hand painted using special enamel paints and finished with 18ct gold plate for a luxury finish in bespoke box 1 in diameter Original David Hockney designs from the 1975 production of opera The Rake's Progress. Makes a superb gift! Inspired by an original recording conducted by Igor Stravinsky and William Hogarth's series of eight paintings and engravings of the same name, Hockney began designing the set and costumes production of The Rake's Progress. Through his designs and the use of his now iconic cross-hatched etchings, he wanted to create a 20th century response to the opera and to Hogarth's 18th century idea. These cufflinks are based upon those Hockney etchings...

Lesley Anne Spowart, an abstract artist hailing from Cape Cod, Massachusetts, is renowned for her transformative creations that blur the boundaries of mediums and styles. With a di...

Work is double-sided, unframed. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before moving toward painting in the 1980s, shaped by Minimalis...

Collage, encaustic wax & oil colour on deep-fame board 600 x 600 mm

In creating this piece, I sought to explore the balance between emotional intensity and meditative calm. By using geometric and symbolic forms in bold gouache and colored pencil, eac...

Ben WIlson Lightness, ca. 1980 Oil on masonite board 21 × 25 × 3/10 inches Stamped by artist's estate, Hand signed by the artist on the front AND stamped by the artist's estate on the back Unframed Hand signed by the artist on the front and stamped by the artist's estate on the back. Acquired from the Estate of Ben Wilson. This poignant painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at prestigious ACA Gallery in 1940. Ben Wilson was born in Philadelphia in 1913 to Jewish parents who had emigrated from Kiev and settled in New York City. He was educated in Manhattan public schools and graduated from City College in 1935. To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his first one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, filled with what he called “the grief of the intolerable” and reflecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identified strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specific imagery persisted but became more psychological and mythic in orientation. Influenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early figurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, influenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson filled notebook after notebook with drawings that he amplified in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn...

Encaustic on board 10 x 12 inches This monochromatic encaustic landscape on board was created by Hudson Valley-based artist Leigh Palmer. Once a hard edge realist painter, the artist eschews those details, letting the stroke of his brush and moody palette leave an abstract implication of the landscape. The main image is bordered by white to give the impression of a window. About the artist: In the Openings series, Palmer integrates the frame into the painting. This element contributes to the narrative, suggesting the viewer is inside looking out. We are not a part of the landscape, rather we are a peaceful witnesses to nature that will transcend even our own existence and continue to change with the seasons long after we have passed. We are romanced by Leigh Palmer's unique ability to pare down and find the true essence of the landscape, gently veiled through his own soul. We are proud to have exhibited his work since the inception of Carrie Haddad Gallery in 1991. Today, the artist continues to work with both encaustic and oil paint. He is currently developing a new series in his studio right across the street from the gallery. We hope to reveal his new work to the public sometime in 2021. Artist Statement: My paintings are based on observation of the landscape in the Hudson River Valley where I live, and are improvised in the studio; the images are found or discovered in my memory of familiar places and developed during the painting process. Human beings do not appear, but their presence is felt in the marks left on the ground (furrows, fence rows, roads), and sometimes in the air (smoke, haze). About the artist: In 1987, Leigh Palmer moved with his family from suburban Duxbury, Massachusetts, to Tivoli, New York, a quiet town on the Hudson River, north of New York City. His subject matter shifted to the sprawling hills and countryside of the Hudson Valley. “I wanted to respond to the new landscape I was seeing, to catch something of the feeling I had just before dark,” says Palmer. “I took a lot of photographs, but I was happier with the paintings I created from memory.” Leigh Palmer has been represented by Carrie Haddad Gallery in Hudson, NY for over 25 years. Resume: EXHIBITIONS 2013 - 2017 Carrie Haddad Gallery, Hudson NY 2011 Graficas Gallery, Nantucket MA 2010 Carrie Haddad Gallery, Hudson NY 2009 Bachelier-Cardonsky Gallery, Kent CT 2008 Bachelier-Cardonsky Gallery, Kent CT Four Starr Gallery, Stonington CT 2007 Carrie Haddad Gallery, Hudson NY 2005 Bachelier-Cardonsky Gallery, Kent CT 2004 Segalas Gallery, Bernardsville NJ 2003, 04 Bachelier-Cardonsky, Gallery Kent CT 2000, 01, 03 Carrie Haddad Gallery, Hudson NY 1999 Barbara Singer Fine Art, Cambridge MA 1999, 98 Carrie Haddad Gallery, Hudson NY 1997 The Main Street Gallery, Nantucket MA 1996 Randall Tuttle Fine Arts, Woodbury CT 1995 James Cox...

There are two ends-of-time. This is the first. Scorched tissue and wax. Collage, encaustic wax & oil colour on board

x18” x 36.5”, triptych framed as one. Framed size 19” z 37.5”. Encaustic, metallic foil, collage and calligraphy transfers on cradled board. Above the rolling hills of a desolate, uninhabited landscape there rises a majestic moon, large and bright. Earth’s singular heavenly orb ascending into the sky with unyielding regularity, bringing along it’s mythological influence. Sylvia Torres, was born in California, one will find the ocean, sky and mountains reflected in her work. She also spent several years in Texas, where she attended the University of Houston, studied commercial art and became the Art Director at several advertising agencies. Eventually, the lure of California drew her back to California. Ms. Torres has been an instructor of art workshops at Idyllwild Arts, Carnegie Art Museum, Studio Channel Islands Art Center, Collage Artists Of America, the Ventura County Art Museum, University of California/Riverside, She has exhibited in solo and group shows including: Palm Springs Art Museum, Santa Paula Art Museum, Ventura Music Festival Invitational, Channel Islands Sanctuary, San Luis Obispo Art Museum, Santa Paula Art Museum, Marion Meyer Contemporary Art, Laguna Beach, CA, East/West One, Invitational, in Thousand Oaks, CA, Ventura Government Center Invitational, Ventura, CA. Sylvia was interviewed live, and her history video recorded by Donna Granata, founder of Focus On The Masters. Sylvia’s video history is permanently documented in their archives. Torres’ work has been acquired by private and corporate collectors: Focus On The Masters, Carnegie Art Museum permanent collection, Handel Evans past President of CSU Channel Islands, University, Infinity Bank, Ventura, CA, and others. Torres’ paintings appear on the sets of popular television shows: Big Little Big Lies, Criminal Minds, Chicago Med, Grey’s Anatomy...