Utah - Figurative Paintings

"I have always loved the patina of old toys, wagons, cars. I love the look of time and timelessness. A thing never becomes really beautiful until it is washed by use and attention. I...

“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...

“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...

"I have always loved the patina of old toys, wagons, cars. I love the look of time and timelessness. A thing never becomes really beautiful until it is washed by use and attention. I...

Lisa Golightly is an artist living in Portland, Oregon. With a BFA in art, her initial focus was photography, the influence of which can be seen in her paintings. Her work revolves a...

Lisa Golightly is an artist living in Portland, Oregon. With a BFA in art, her initial focus was photography, the influence of which can be seen in her paintings. Her work revolves a...

CHRIS GWALTNEY is a painter from Southern California. He paints in a lush style, combining areas of abstraction with loose figurative elements. He experiments with sensuous surface...

CHRIS GWALTNEY is a painter from Southern California. He paints in a lush style, combining areas of abstraction with loose figurative elements. He experiments with sensuous surface...

CHRIS GWALTNEY is a painter from Southern California. He paints in a lush style, combining areas of abstraction with loose figurative elements. He experiments with sensuous surface...

CHRIS GWALTNEY is a painter from Southern California. He paints in a lush style, combining areas of abstraction with loose figurative elements. He experiments with sensuous surface...

"Filter" by Megan Gibbons, oil on canvas, 48 x 36 inches, $3750. - My work focuses on the meaningfulness in ordinary moments. The beauty of common, tran...

Jennifer Nehrbass is a painter living and working in Albuquerque, New Mexico. She was born in West Bend, Wisconsin in 1970. She received her B.S. in Art and Textile Design from the U...

Jennifer Nehrbass is a painter living and working in Albuquerque, New Mexico. She was born in West Bend, Wisconsin in 1970. She received her B.S. in Art and Textile Design from the U...

Lisa Golightly's initial focus was photography, the influence of which can be seen in her paintings. Her work revolves around memory and how snapshots shape, influence, change and even create memory. She works with acrylic and high gloss enamel, using found photos...

"Bewitching" by Marwan Nahle, acrylic on panel (yellow painted edges) 8 x 8 x 1.5 inches, $950 Marwan Nahlé is a citizen of the world. As a free spirit ...

"Shipwright" by Megan Gibbons, oil on canvas, 36 x 36 inches, (Framed Size: 37.5 x 37.5 inches) $3100. - My work focuses on the meaningfulness in ordina...

Lisa Golightly's initial focus was photography, the influence of which can be seen in her paintings. Her work revolves around memory and how snapshots shape, influence, change and even create memory. She works with acrylic and high gloss enamel, using found photos...

"Serena" by Megan Gibbons, oil on canvas, 48 x 36 inches, (gallery wrapped canvas) $3500. - My work focuses on the meaningfulness in ordinary moments. T...

Oil on resin paper. 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 in...

"Shore Birds" by Gerald Purdy, oil on panel, 11 1/2 X 14 inches (framed size: 17 X 21 1/2 inches), $2,800. "I chose narrative art from the menu and have ...

Capturing the unrehearsed compositions and offhand smiles between family and friends. A visual language that communicates more than the spoken word. Candid and sometimes intimate. Th...

Breath of Fresh Air, oil on panel, 48 x 36 inches, $6,000 Having grown up in England, Heather Barron innately infuses her work with a bit of British charm and decorous character. Re...

"White House, Blue Roof" by Kathleen Peterson, oil, 18 X 18 inches Kathleen Peterson was born the third child of a third child to school teacher par...

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

"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...

After painting for over 30 years, I am still fascinated by the alchemy & expression of paint. Primarily I am a studio painter working in oil on canvas. Oil paint is a very elastic me...

After painting for over 30 years, I am still fascinated by the alchemy & expression of paint. Primarily I am a studio painter working in oil on canvas. Oil paint is a very elastic me...

Abstract Woman I, acrylic on canvas, 20 x 20 inches (painted orange sides), $750 Randee Levine’s work follows the abstract expressionist movement allow...

Chris Gwaltney paints in a lush style, combining areas of abstraction with loose figurative elements. He experiments with sensuous surface finishes, compiling multiple layers of pain...

Capturing the unrehearsed compositions and offhand smiles between family and friends. A visual language that communicates more than the spoken word. Candid and sometimes intimate. Th...

Capturing the unrehearsed compositions and offhand smiles between family and friends. A visual language that communicates more than the spoken word. Candid and sometimes intimate. Th...

Capturing the unrehearsed compositions and offhand smiles between family and friends. A visual language that communicates more than the spoken word. Candid and sometimes intimate. Th...

"After painting for over 30 years, I am still fascinated by the alchemy & expression of paint. Primarily I am a studio painter working in oil on canvas. Oil paint is a very elastic m...

"After painting for over 30 years, I am still fascinated by the alchemy & expression of paint. Primarily I am a studio painter working in oil on canvas. Oil paint is a very elastic m...

"After painting for over 30 years, I am still fascinated by the alchemy & expression of paint. Primarily I am a studio painter working in oil on canvas. Oil paint is a very elastic m...

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...

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...

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 aluminum. 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 invol...

"After painting for over 30 years, I am still fascinated by the alchemy & expression of paint. Primarily I am a studio painter working in oil on canvas. Oil paint is a very elastic m...

"After painting for over 30 years, I am still fascinated by the alchemy & expression of paint. Primarily I am a studio painter working in oil on canvas. Oil paint is a very elastic m...

"After painting for over 30 years, I am still fascinated by the alchemy & expression of paint. Primarily I am a studio painter working in oil on canvas. Oil paint is a very elastic m...