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Genevieve May"Nature’s Way" Oil Painting 72" x 36" inch by Genevieve May2025
2025
$54,000
£41,200.67
€46,903.70
CA$75,897.60
A$83,429.95
CHF 43,800.33
MX$992,042.08
NOK 562,495.74
SEK 512,372.83
DKK 350,445.95
About the Item
"Nature’s Way" Oil Painting 72" x 36" inch by Genevieve May
Medium: Oil on canvas
Nature’s Way:
T h e S y m b o l i s m o f H u m a n i t y
While lions embody individual power and dominance in the wild, their existence in nature is surprisingly fragile and even faces extinction. In contrast, goats, though often hunted and physically less imposing, have demonstrated a remarkable resilience throughout time, demonstrating their superior strength as a species.
S y m b o l i s m o f t h e P a n t h e r a ( L i o n )
The symbolism of the lion in my painting refers to a beast that is feared, an aggressive energy that is demanding but is not as strong as we perceive the animal to be. Although the animal is a predator, at the top of its food chain, the big cat population faces a number of threats. Habitat loss, conflict with humans, climate change, and the illegal wildlife trade all impact their future. The fragility of such a strikingly powerful animal is bizarre to me.
For instance, the American lion, a massive prehistoric big cat, went extinct roughly 11,000 years ago, near the close of the last Ice Age. Though the exact cause of their extinction remains uncertain, scientists believe it was likely due to a combination of shifting climate conditions, a decline in available prey, and possibly the growing presence and impact of early humans. Together, these forces lead to the disappearance of one of the largest cats to ever walk North America. There is such poignance in seeing the seemingly inevitable decline of such a ferocious and mighty specie.
S y m b o l i s m o f t h e C a p r i n e s ( G o a t )
Goats are often symbols of stubbornness, independence, fertility, and survival. For me, they are the definition of an unexpected strength, a quiet confidence that I seek comfort in relating to as a woman. Although they are prey to many and lack the physical strength and power of a lion or leopard, their ability to climb steep mountains, survive on rough terrain, and live close to humans has made them one of the most enduring and adaptive species in agricultural history. They are considered one of the most resilient animals to roam this earth. But regardless of each animals power struggle to survive, we often find that nature owes no mercy to either one.
“ I a m n o t s o r r y ” o n t h e F e m a l e S c u l p t u r e
The words written on what I painted to be a mother nature figure in the form of a forgotten ancient sculpture, declare “I am not sorry”. While the statement holds no vengeance or animosity, these words are said with a sense of indifference. They are not told from a humans perspective, but rather from natures stand point. I find that nature operates with a quiet indifference where there is no fairness or competition. The climate is dictated by balance, cycles, and consequence. There is no reward for effort, no mercy for the weak, and no punishment for the strong. In the wild, survival is not earned by worth but determined by timing, adaptation, and chance. The idea of fairness is a human construct, one that nature neither honors nor rejects.
T h e S y m b o l i s m o f H u m a n i t y
While storms do not choose their victims, and predators do not hunt with justice in mind, we human beings hold standards for our fellow humans and point fingers at those who disappoint us. We have expectations in one another, have morals and constructs that we take pride in abiding by. We get our hearts broken just as often as we break hearts. We act out of greed and lust but also out of logic and reason. We are capable of loving just as strongly as we are of hating and while we strive to do what we believe is right, somehow we can always be wrong in another’s eyes. The human impact is overwhelming. I think we are all so strange. I thought over and over again on how to apply a sense of humanity to this painting. The words in the background are my confessions to a stranger; however during the process of creating the scenery for this painting, I wrote the words “But I forgive you” on the models back. This phrase serves as a reminder that mankind can have compassion and that the ability to forgive ourselves and others, will always be a mental state we hope to find, once past conflicts are resolved or fade with time.
T h e P a i n t i n g I n s p i r a t i o n
The outcome of this painting became much more complex than I anticipated. I admit there is much sadness and anguish that stems from this piece; a kind of frustration and lacking the ability to change things. I can rely on art to always serve as an emotional outlet in this way; but at times it can be too much and the artist may not want to revisit those, for lack of a better term “demons in the closet”. However, my fascination with nature and wildlife remains the pinnacle of what this painting is ultimately about. The subject was cultivated from a combination of my travels this past year. Upon traveling to a land reserve on the east coast of the United States with hundreds of goats and other animals around, I was able to capture incredible footage of these environmentally crucial animals and learn about their self sustaining ecosystem. I also recently returned from a trip to Milos, Greece, the original home of the Venus de Milos statue and was greatly moved by the ancient sculptures there that have been preserved overtime. They had such a haunting element that I felt I needed to capture.
The idea of preservation, the ability to sustain throughout history, was brought on from both my visitations to Milos and to the land reserve with all the animals in their natural habitat. This is why I made the decision to paint the figure and the animals as sculptures, as if they have been stopped in time and are here with us watching all the crazy things we do. Looking back, I have been fortunate to spend time with the many animals I am inspired by and have found this part of the process to be rewarding. I have been bitter, endured grief and lost a few along the way, as many of us have, but when I find myself trying to find answers as to why this or that has happened, I gain perspective from the animals and from nature’s course. I am humbled by the wilderness and all of its wildlife knowing that in the end, the earth remains indifferent and I am just a visitor creating art along the way.
About Genevieve May:
Genevieve May is celebrated for her distinctive fusion of typography and symbolic realism. Coming from a diverse creative background, including painters, authors, filmmakers, fashion designers, sculptors and musicians, she embraces different mediums to convey the human experience. Her work often integrates elements of fashion, music and calligraphic poetry to convey her narrative. Although painting is central to her work, May’s practice is multifaceted, fusing together visual art with music,
calligraphy, symbolism, cinematography, and fashion elements. She feels that her artistic language cannot be confined to a single medium.
Raised in a renovated tobacco barn in a rural town outside of Northampton, Massachusetts, Genevieve May was born the daughter of accomplished artists and authors, Dennis Nolan and Lauren Mills. Genevieve remembers many formative trips to museums, art classes, and gallery openings. As a child she studied classical drawing, calligraphy and painting with her parents and later studied figure drawing and sculpting at Lyme Academy, all before the age of fifteen. Upon entering high school she took credited college courses in egg tempera painting and in addition, studied watercolor and fresco painting with her parents in Europe. Later, Genevieve studied color theory and cadaver life drawing at Stamford University. Here she was able to practice the old renaissance tradition of dissecting human bodies in order to improve figurative drawing skills. She attributes her knowledge and deep understanding of the human form to this intensive. Once she felt that she had grasped the techniques her education provided, she summoned her art forms and created her own methods of self expression and story telling.
Genevieve May currently lives and creates alongside her
partner, artist E.C. Baugh, in New York City.
- Creator:Genevieve May (American)
- Creation Year:2025
- Dimensions:Height: 72 in (182.88 cm)Width: 36 in (91.44 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Culver City, CA
- Reference Number:1stDibs: LU1085117334422
Genevieve May
Genevieve May is celebrated for her distinctive fusion of typography and symbolic realism. Coming from a diverse creative background, including painters, authors, filmmakers, fashion designers, sculptors and musicians, she embraces different mediums to convey the human experience. Her work often integrates elements of fashion, music and calligraphic poetry to convey her narrative. Although painting is central to her work, May’s practice is multifaceted, fusing together visual art with music, calligraphy, symbolism, cinematography, and fashion elements. She feels that her artistic language cannot be confined to a single medium. Raised in a renovated tobacco barn in a rural town outside of Northampton, Massachusetts, Genevieve May was born the daughter of accomplished artists and authors, Dennis Nolan and Lauren Mills. Genevieve remembers many formative trips to museums, art classes, and gallery openings. As a child she studied classical drawing, calligraphy and painting with her parents and later studied figure drawing and sculpting at Lyme Academy, all before the age of fifteen.
Upon entering high school she took credited college courses in egg tempera painting and in addition, studied watercolor and fresco painting with her parents in Europe. Later, Genevieve studied color theory and cadaver life drawing at Stamford University. Here she was able to practice the old renaissance tradition of dissecting human bodies in order to improve figurative drawing skills. She attributes her knowledge and deep understanding of the human form to this intensive. Once she felt that she had grasped the techniques her education provided, she summoned her art forms and created her own methods of self expression and story telling.
Genevieve May currently lives and creates alongside her
partner, artist E.C. Baugh, in New York City.
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