Timothy Tompkins Figurative Paintings

"DRAWING INVENTORY (Jamón y Gasolina)", 2019, painting in acrylic, charcoal, watercolor, collage, silkscreen enamel on cotton rag paper by artist Andrew Cornell Robinson...

This mixed media painting on canvas measures 36x54" framed size 38x56". Titled "Brando and G", it is in Ceravolo's classic urban Pop style. In this mixed media painting on canvas ...

REDSKIN is one of eight pieces in Nashville based artist Omari Booker's series for his solo show “Red Line” at Channel to Channel. Booker’s new series of work is centered around the...

Oil, enamel, oil pastel on wood

"Palm Tree," 2019. Enamel on panel, sign painting, black, white, yellow, green and red.

Adam S. Umbach Biography American, b. 1986 Adam Umbach was born in Chicago, and currently lives and works in Brooklyn, New York. After being inspired from an early age by the modern...

Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...

In the series of paintings titled “That Feeling When,” Aldrich expands the excess of materials to large figure paintings and small, overfilled sculptures. Aldrich uses thick materials that protrude from the surface, reminding the viewer that the paintings are not only physical objects in themselves, but also create the illusion of the picture. The work employs a risky excess of material that borders on uncontrollable; becoming metaphoric for barely controlled femininity, the attraction and repulsion of materialism, and the body pressing against constraints. The figures in the paintings are seen from behind or have turned away. The viewer is put in a place of questioning whether they are a voyeur or a co-viewer with the figure of something deeper in the picture plane. The full body paintings of young women based on Nancy Drew...

A feminine figure occupies the majority of the right side of this canvas, and though we can't see her face, we know that she is looking at the wall beside her. The wall is disheveled, seemingly covered with graffiti and a broken mirror hangs loosely at a precarious angle. -- Building on her previous show, Main Squeeze, which featured bodies pressing through the grid of lawn chairs, in “That Feeling When,” Aldrich expands the excess of materials to large figure paintings and small, overfilled sculptures. Aldrich uses thick materials that protrude from the surface, reminding the viewer that the paintings are not only physical objects in themselves, but also create the illusion of the picture. The work employs a risky excess of material that borders on uncontrollable; becoming metaphoric for barely controlled femininity, the attraction and repulsion of materialism, and the body pressing against constraints. The figures in the paintings are seen from behind or have turned away. The viewer is put in a place of questioning whether they are a voyeur or a co-viewer with the figure of something deeper in the picture plane. The full body paintings of young women based on Nancy Drew...

Oil, enamel, and ink on canvas Signed in black, l.r. This artwork is offered by ClampArt, located in New York City. Inscriptions read: THE WALL, NOGALES In Nogales, I walk across...

A person reclines in a red striped lawn chair. The subject's body presses against the back of the hair, revealing a Notre Dame Fighting Irish logo on hi...

JENNY DAY is a painter who lives in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Alaska Fa...