Utah - Paintings

Robert Mellor’s paintings can be viewed as new propositions for visual enactment by the viewer, each work providing cues for engaging with the composition, layer by layer, edge by ed...

Robert Mellor’s paintings can be viewed as new propositions for visual enactment by the viewer, each work providing cues for engaging with the composition, layer by layer, edge by ed...

To allow something that I do not control to have an action, to allow oneself to bring this action into a materiality; this is why I make art. My work is very much about process. I f...

To allow something that I do not control to have an action, to allow oneself to bring this action into a materiality; this is why I make art. My work is very much about process. I f...

"My work is often described as realism, and sometimes photorealism, but I don’t think of it that way. I do use photographs as reference, and the finished paintings have a photographi...

Ryan Akerley is a landscape painter based in Salt Lake City. He has always been intrigued, and inspired by the natural world. Learning to ski at age 5, and competing in freestyle ski...

Ryan Akerley is a landscape painter based in Salt Lake City. He has always been intrigued, and inspired by the natural world. Learning to ski at age 5, and competing in freestyle ski...

Ryan Akerley is a landscape painter based in Salt Lake City. He has always been intrigued, and inspired by the natural world. Learning to ski at age 5, and competing in freestyle ski...

Photography has been a huge passion since my youth, however the evolution of digital photography created a void in regards to the precision and tactility of film photography. In 2002...

Photography has been a huge passion since my youth, however the evolution of digital photography created a void in regards to the precision and tactility of film photography. In 2002...

Photography has been a huge passion since my youth, however the evolution of digital photography created a void in regards to the precision and tactility of film photography. In 2002...

“I begin this short essay with my artists’ statement from 1997 because it illustrates my focus on emotion instead of on subject matter starting early on. I approached the idea of writing about what I paint back then with dread and tried to bypass it by being as honest as possible about my process. I’d like to think that I paint anything I want because through paint I can express how I feel. I started training to be an artist in early childhood. I studied texture. I learned about composition. I played with color and observed the beauty of line. My methods were unconventional and invented by me. Many different things inspired me: Cheerios in milk, clouds, hands in food, dry dusty dirt, wet mud puddles, coloring books, fashion photos in the newspaper and my keen need to observe my surroundings. When asked what I wanted to be when I grew up I had no answer. I just wanted to watch, and to observe the world around me. I’ve worked for years on a response to that complicated question “what is the work about?” I’ve developed all kinds of stories that seem to make sense at the time, but I have to ask, “isn’t this the same question as ‘what do you want to be when you grow up?”’ I am drawn to the figure, and to capturing physical expression in all types of situations, but especially when we are on our own. The body carries emotion, and most people are unaware that they reveal something of themselves when observed in private moments. When I was young I realized that I could easily understand the unspoken just by watching. It felt like a strange and isolating gift – and sometimes a curse – and I often felt confused and acted out in anger when the words didn’t match what I saw. But I still recognize all kinds of emotion there, and whether what I see is true or not, I relish the vulnerability of the moment. Color is another important tool for me. It’s a self-taught endeavor and one that I explore daily. Color mixing is similar to building flavors in a soup. A soup with just salt is watery and uninteresting. As in cooking, I pay close attention from the first layers what each color feels like in terms of its value, whether it’s warm or cool, and how it fits the composition. I am looking for something that feels harmonious with my nervous system. I begin with abstract shapes, then ask, “Is this shape interesting? Does this color work next to that one? Is it too strong? Is it helpful to the overall composition?” The more complex the mix, the more likely it is to hold my attention, and allow me to linger. Those puddles of paint sitting on my six foot glass palette...

CAROL O'MALIA received a BFA from Rhode Island School of Design and MFA from University of Massachusetts-Dartmouth. Her paintings have caught the attention of both private and corpo...

CAROL O'MALIA received a BFA from Rhode Island School of Design and MFA from University of Massachusetts-Dartmouth. Her paintings have caught the attention of both private and corpo...

Robert Mellor’s paintings can be viewed as new propositions for visual enactment by the viewer, each work providing cues for engaging with the compositio...

Oil on panel. STEPHEN FOSS is widely known for the visually rich surface finish and color that show a return to heavily worked finishes in contemporary painting. His current body of ...

Oil painting on panel.

PHILIP BULLER is a figurative painter who is known for his historic, large scale paintings and unique surface texture. Buller employs a painting technique that involves the process o...

Oil on panel. In creating his realist paintings, Jeff Cohen paints on individual wooden tiles which are then brought together to form the finished piece. E...

"My new body of work uses discarded wood gathered from landfills and construction sites in Vermont. Once in the studio I prepare the boards by cutting them into thin strips taking ca...

NINE FRANCOIS produces close-up photographs of animals which are presented against a stark white background. The artist shoots up close – very close – with a wide angle lens, and fr...

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin's stalwart images have an epic q...

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin's stalwart images have an epic q...

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin's stalwart images have an epic q...

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin's stalwart images have an epic q...

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin's stalwart images have an epic q...