G. Campbell Lyman

"Gridish #15" - Contemporary Multimedia Abstract Painting

2021

Artist’s Statement: “These paintings are technically challenging, as they combine wax (encaustic), tar, oil, acrylic, powdered graphite and other media. They are painted on fiber pan...

(NOTE: if you enter "Gridish" into the 1stDibs search field you will see others in this series come up) ALSO: the camera insists on adding a bluish tint to these paintings, which isn...

(Comes professionally framed in a solid maple floater frame, ready to hang) Artist's Statement "This series of intensely colorful paintings was begun a couple of years back in reaction to the gray oppressive weight that had descended like a pall on the American scene. I wanted to make paintings about nothing but pure delight, in honor of the fact that beneath the fog of germs and political antagonism, we still eat, laugh, love and if we're wise, acknowledge how spectacularly fortunate we are -- at least for now, in this time and place, despite the problems. For me, the colors, forms and brushstrokes here feel exuberant without suggesting an unnerving chaos. I have purposely used unlikely color combinations that despite their dissonance seem to work together. I don't feel this is a time to be making brooding works that reflect the problems we are working our way through; we all know about this. On the contrary, I think it's a time for art...

Comes framed and ready to hang in black floater frame. (Note: photographed in natural light which gave the painting a bluish cast; it's more white in person. The picture shot at an ...

Comes framed and ready to hang in black floater frame. Artist’s Statement: “These paintings are technically challenging, as they combine wax (encaustic), tar, oil, acrylic, powdered...

(Comes professionally framed in a solid maple floater frame, ready to hang) Artist's Statement "This series of intensely colorful paintings was begun a couple of years back in reaction to the gray oppressive weight that had descended like a pall on the American scene. I wanted to make paintings about nothing but pure delight, in honor of the fact that beneath the fog of germs and political antagonism, we still eat, laugh, love and if we're wise, acknowledge how spectacularly fortunate we are -- at least for now, in this time and place, despite the problems. For me, the colors, forms and brushstrokes here feel exuberant without suggesting an unnerving chaos. I have purposely used unlikely color combinations that despite their dissonance seem to work together. I don't feel this is a time to be making brooding works that reflect the problems we are working our way through; we all know about this. On the contrary, I think it's a time for art...

Charles Arnoldi, is an American painter, sculptor and printmaker. He was born April 10, 1946 in Dayton, Ohio. Charles Arnoldi has been described as an artist who “draws in space” to...

An original, fine art, abstract expressionist painting, "Withering on the Vine" combines abstracted floral motifs with gestural markings. Created in 2021 by a...

Contemplating Cultural Restoration, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...

Protesting his innocence, 2022. Mixed media: charcoal, pastel, acrylic paint on reclaimed paper Sheehama graduated from the University of Namibia with a Bachelor of Art (Fine Art) Honours degree in 2010 and has taught Visual Arts at the John Muafangejo...

Gathering Knowledge, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...

Authoritarian Upbringing, 2022. Mixed media: charcoal, pastel, acrylic paint on reclaimed paper Sheehama graduated from the University of Namibia with a Bachelor of Art (Fine Art) H...