South Coast - Landscape Paintings

Timothy Mulligan's "Mystical Waterfall" is a captivating geometric abstraction that reimagines the elegance of a flowing waterfall. The artwork features angular, layered forms that evoke the cascading movement of water, blending fluidity with structured design. Light-colored boulders frame the composition, their pale tones offering a serene contrast to the dynamic, crystalline patterns of the waterfall. Mulligan employs gold accents with precision, adding a luminous quality that suggests sunlight glinting off the water’s surface or the ethereal glow of a hidden treasure. The interplay of sharp, geometric lines with soft, natural hues creates a harmonious tension, inviting viewers to ponder the balance between nature and abstraction. The overall effect is both tranquil and energetic, capturing the timeless beauty of waterfalls while pushing the boundaries of traditional landscape art...

Timothy Mulligan's "3 Blue Palm Shadows" is a striking portrayal of tranquility and natural beauty. The centerpiece is a meticulously detailed palm tree, its intricate fronds reach...

For over 20 years Jian Wang has been serving bountiful helpings of color to audiences in the form of abstracted landscapes and still lifes rendered in oil paint. Deep orange, emerald...

"Undersky" depicts flashes of city lights. These small paintings have so much to say and we can say they beckon viewers to draw closer and observe all that artist has been able to co...

"Light Decaying" depicts a winding river through a mountainous terrain, not unlike the many vistas and terrains of Carpenter's adventures into nature. As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue Azul Collection...

"One Of The Ways" depicts a densely populated grove. As with other of Carpenter's paintings, this scene invites viewers to look closer and also to go out to explore nature. As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue Azul Collection...

"No Escape from Nature" depicts an early morning walk through the woods. Dappled sunlight makes this scene quite tranquil. As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue Azul Collection...