Massachusetts - Abstract Paintings

A limited palette composition of yellows and oranges with bold blue brushstrokes. To me this painting has a whimsical architectural quality that reminded me of the structures in Dr. ...

A colorful arrangement of signs and symbols on a loose background of acrylic washes. Unstretched - ships in tube. :: Painting :: Abstract :: This piece comes with an official certifi...

A cheerful composition of signs and symbols on a background of loose washes of yellow and teal. Painted for the most part on a sunny March day, when one notices that the sun is getti...

Marcia R Wise's "Waiting for the Catch" shows only a part of a boat's hull while the reflection of the boat is more intact. From the artist's water refle...

Marcia Wise's 'Landscape of Dreams' is a 12 x 12 inch abstract oil painting with highlights yellows and oranges. In this memory-based painting. Wise uses palette and putty knives ins...

A colorful array of overlapping forms outlined with an off white line. May textures here, with previous layers showing through the finished surface. A cheerful painting. :: Painting ...

Holding On, 2016, Mixed Media on Wood Panel, 18 x 14 Inches. Playful geometric abstraction of multi-layered shapes, textures, and linear elements in shades of turquoise, yellow, gra...

"MAINE, LIVING THE DREAM" Flag of Maine Oil on Linen 24 x 48 Inches (Plus Artist's Wood Frame) Charlotte Gibbs’ "flag," "stars," and "text" paintings often reference the artist's interest in Pop art and sometimes incorporate 23 karat gold leaf in addition to oil paint, but not always. With its depiction of the bold slogan "MAINE LIVING THE DREAM" in white letters...

Charlotte Gibbs’ "flag" paintings often reference the artist's interest in Pop art and Geometric Abstractions, and sometimes incorporate 23 karat gold leaf in addition to oil paint, but not always. With its depiction of a graphically idealized Scottish flag...

Hand-dyed ghost gear netting*, muslin, adhesive, foam, paint, pins, reclaimed copper flashing Recovered Ghost Gear Data: Retrieval Coordinates: 42° 10ʹN 69°52ʹW Retrieval Vessel: F/...

A colorful composition of rhythmic brushwork juxtaposed against a spidery web of thick black brushstrokes. To me this painting recalled a carnival . Roustabouts were the laborers tha...

A colorful composition of energetic brushstrokes on a loose background of acrylic washes and horizontal lines. :: Painting :: Abstract :: This piece comes with an official certificat...

Gentle, 2017, Oil on Found Wood 12 x 12 x .5 Inches. This painting is currently on view in a one-person exhibition of the artist's works at the Beth Urdang Gallery in Boston. Jea...

acrylic and pencil on canvas - 67”W x 31”H - unstretched - ships in tube Bold signs and symbols on a textured background of pinks and light blues. Other marks peek through the...

"Strawberry Fields Forever" 2019 Oil on Canvas 36 x 36 Inches Vividly colored Abstract Expressionist painting filled with light and energy, primarily in white, blue/gray, burgund...

"Meeting at River's Edge #12," Oil on Panel, 16 x 20 Inches. Vivid abstraction in pale yellow/green, turquoise, white, black and orange. Susan Sharp is an outstanding abstract pa...

This abstraction by NY based artist Margo Margolis has a very sophisticated/playful sensibility with brilliant, intense color (dark green, bright green, orange, yellow, black and white) - the significant attribute of the artist's flashe medium, a water based French paint. Consisting of multiple layers of underpainting and glazing, and frequent contrasts between hard and soft edges, these paintings not only have associations with Henri Matisse's palette and Alexander Calder's sculptural forms, but also share in these artists' levels of complexity after initial relatively straightforward first takes. Fresh and intelligent exploration into the possibilities for abstraction are Margolis's focus, and these works achieve that rare quality of making abstraction feel new. Margo Margolis "White and Green" 2022 Flashe on Canvas 24 x 18 x 1.25 Inches This painting is unframed and framing is not necessary as the sides are painted white. It is currently on view in an exhibition of the artist's work in Wellesley, MA where it is featured in a group of works of varying sizes, small, medium, and large: 24 x 20 inches, 40 x 32 inches, 72 x 60 inches, and works on paper measuring 30 x 22 inches. Also available are a series of earlier small canvases measuring 14 x 11 inches each which also work well as groupings. Margolis’s continuing commitment to abstract painting dates back to the early 1970s when she began exhibiting with the Brooke Alexander Gallery in New York where she had several shows. In addition her work has been exhibited throughout the country at numerous galleries and institutions including The Pennsylvania Academy of Art, The Renaissance Society, The Munson-Williams Proctor Institute and Halls Walls, among others. In reviewing the artist’s 1993 exhibition in the Beth Urdang gallery for 'The Boston Globe' then chief art critic Nancy Stapen stated: “…eccentric, quasi-geometric forms and initial impression of simplicity belie this artist’s highly sophisticated grasp of paintings. These are multi- layered works concerned with the discipline’s core issues – transluscency and opacity, flatness and illusioinism, line and form, figure and ground, pattern and surface, structure and weightless pictorial space… these paintings may be analyzed up to a point. In the end, their process remains mysterious. Their appeal lies in their engagement with an inventive form language intrinsic to painting, as well as in their deft synthesis of quietude and quirkiness.” June 3, 1993 Current Chief Art Critic for 'The Boston Globe, ' Cate McQuaid, wrote of Margolis’ 2017 exhibition in the gallery: “Her marks grab at you as insistently as a toddler demanding attention. They’re like a language made purely of punctuation, rhythmic and emphatic, let out of the duty of modifying sentences, freed at last to express itself alone.” January 6, 2017 Works are included in numerous public collections including the Philadelphia Museum of Art, the Brooklyn Museum, Chase Manhattan Bank, Amerata-Hess Corporation, General Mills, Best Products, IBM, Estee Lauder, Miami-Dade College, Chemical Bank, and Wellington Management. She is the recipient of many awards including 2 grants from The National Endowment for the Arts, a New York State Council on the Arts Grant, and Yaddo and MacDowell Residency Grants. Margolis received a BS degree from Skidmore College and an MFA from Indiana University. She lives and works in New York. The artist recently retired as Chairman of the Tyler School of Art's (Philadelphia) Department of Painting. Statement by Margo Margolis: "While text and image combine to tell the story, it is the drawing around the narrative, the space between text and image that I find compelling. In my work, it is the space between, on the periphery, in the margins that has become the foreground. It is the charged environment that has become the subject. Equally significant and transformative have been innovations in process that have evolved. Discrete marks are de-contextualized, reassembled and photocopied. They are further manipulated by exaggerations in scale, repetition and excessive layering. I have introduced 'printerly' processes (carbon tracking and stencils) that combine with marks that are hand-drawn, hand-painted. These are layered over and under transparent veils of paint. The incorporation of printing methods has been critical both formally and conceptually. These processes underline the fact that this is a system based on a 'ready-made' language. They create an identity distinctly different from action painting, gestural painting or any notion that the artists' stroke is assumed to reveal his/her psyche. These are distanced marks and frozen gestures. In combination with what is handmade, they reveal an alternate translation. Importantly, these processes, in allowing direct reproduction point to the semantic mutability of the language. However, most important is the process of building, excessive layering, and the continual dissolution and re-materialization of form. The paintings have a physicality and material presence that affirms the medium and is in contrast to their graphic impact." MARGO MARGOLIS EDUCATION B.S. Degree 1970, Skidmore College, Saratoga Springs, New York MFA Degree 1972, Indiana University, Bloomington, Indiana SOLO EXHIBITIONS 2022 Beth Urdang Gallery, Wellesley, Massachusetts 2019 Beth Urdang Gallery, Boston, Massachusetts 2016 Beth Urdang Gallery, Boston, Massachusetts 2007 Beth Urdang Gallery, Boston, Massachusetts 2001 Beth Urdang Gallery, Boston, Massachusetts 1997 Esso Gallery, New York, New York 1993 Beth Urdang Gallery, Boston, Mass. 1991 Beth Urdang Gallery, Chicago, IL. 1989 Beth Urdang Gallery, Boston, Mass 1987 Richard Green Gallery, New York 1980 Brooke Alexander Gallery, New York 1979 University of Southern Florida, Tampa, Florida 1979 Miami-Dade College, Miami, Florida 1978 Brooke Alexander Gallery, New York 1977 Connecticut College, New London, Ct. 1977 Brooke Alexander Gallery, New York SELECTED GROUP EXHIBITIONS 2016 Fabulous You, Tiger Stikes Asteroid, Brooklyn, New York 2011 Twin, Twin, Pierogi Gallery, Brooklyn, New York 2010 Spring Editions, Pelavin Editions, New York 2010 Group Exhibition, Beth Urdang Gallery, Wellesley, Massachusetts 2004 Analog Click-Click, Temple Gallery, Philadelphia, Pa. 2002 Snapshots, Arcadia University Gallery, Glenside, PA, Aldrich Museum of Contemporary Art, Ridgefield, CT 1999 Tenth Anniversary Exhibition, Beth Urdang Gallery, Boston, MA 1998 Accrochage in the Gallery, Esso Gallery, New York 1998 Brad Kalhammer, Nicholas Rule, Margo Margolis, Solo Voices, North Dakota Museum of Art, Grand Forks, ND 1998 Art Exchange Show, New York 1998 Works on Paper, Galeria Martano, Turin, Italy 1998 Paintings and Monoprints, Cheryl Pelavin Gallery, New York 1997 Esso Gallery in Torino, Villa Buttino, Torino, Italy 1997 Art Exchange Show, New York 1996 Objects by Some Artists and Architects, Beth Urdang Gallery, Boston, MA 1996 The Art Exchange Show, New York 1994 Abstract Painting, Carolyn Roy Gallery, New York 1995 Wayne C. Brown DePonton d”Amecourt Collection, Colby College, Waterville, ME 1994 Contemporary Prints, Quartet Gallery, New York 1992 Mentors, Vox Populi Gallery, Philadelphia, PA 1991 Presenze, Artisti Stranieri in Italia Oggi, Rocca Paolina, Perugia, Italy 1990 Contemporary Painting, Langman Gallery, Philadelphia, Pa. 1989 Very Special Arts Benefit, Christies, New York 1989 Ground Work, Valencia College, Valencia, FL 1989 Group Show, Shea Beker Gallery, New York 1989 Drawings, Lorence Monk Gallery, New York 1989 Monoprints, University of Maine, Orono M 1989 Inadmissible Evidence, SUNY Purchase, New York 1988 Group Show, Bernard Jacobsen Gallery, New York 1986 Mutual Respect, Vanguard Gallery, Philadelphia, PA 1984 Nature As Image, OIA, New York 1983 Works on Paper, Bucknell University, A 1982 Group Show, Brooke Alexander Gallery, New York 1981 Abstract Painting, Womens Caucus of the CAA, New York 1981 Ten Years Later, Skdmore College, Saratoga Springs, New York 1981 Exchanges III, Louis Abrons Center, New York 1981 Group Show, Brooke Alexander Gallery, New York 1981 Sign and Symbol, Jeffrey Fuller Gallery, Philadelphia, PA 1981 Five Abstract Painters, Brooke Alexander Gallery, New York 1981 Group Show, Marion Locks Gallery, Philadelphia, PA 1980 New York, New, Work,”Delahunty Gallery, Dallas, Texas 1979 Group Show, Brooke Alexander Gallery, New York 1978 Diamond, Margolis, and Ripps, Brooke Alexander Gallery, New York 1978 Contemporary Drawings, Pennsylvania Academy of Fine Arts, Philadelphia, PA 1978 Drawings, Pratt Graphics Center, New York 1978 Thick Paint, Curated by Carter Ratcliffe, Renaissance Society, University Of Chicago, Chicago, IL 1978 New Editions, Brooke Alexander Gallery, New York 1978 Three New York Painters,” Alice Simsar Gallery, Ann Arbor, MI 1978 Six Contemporary Painters,”curated by Marcia Tucker, Kirkland College Clinton York 1977 Works on Paper, Alice Simsar Gallery, Ann Arbor, MI 1977 Critics Choice,” Joe and Emily Lowe Gallery, Syracuse University, Syracuse, New York, Munson-Williams Proctor Institute, Utica, New York 1977 New Abstract Objects,” Halls Walls, Buffalo, New York 1977 Diamond, Jacquette, Margolis and Ripps-New Work, Brooke Alexander Gallery, New York 1977 Painting ’75,’76,’77, Sarah Lawrence College, Bronxville, New York; American Federation for the Arts, Miami, FL; Contemporary Art Center, Cincinnati, O 1977 Works on Paper, Vick, Klaus, and Rosen Gallery, Philadelphia, PA 1976 Group Exhibition, Towson State College, Towson, MD 1976 “Contemporary Approaches to Painting,” University Museum, University of California at Santa Barbara 1976 “Four Young Artists,” Bykert Gallery, New York 1976 Invitational, OK Harris Gallery, New York PUBLIC COLLECTIONS Philadelphia Museum of Art, PA Brooklyn Museum, New York IBM Corporation, New York Fidelity Investments, Boston, MA Prudential, New York Rosenthal and Rosenthal, New York Chase Manhattan Bank Collection, New York Ivan Chermayeff, New York Lehman Brothers, New York Miami-Dade College, Miami, FL Amerada-Hess Corporation, New York American Can Company, Greenwich, CT Estee Lauder Corporation, New York General Mills, Minneapolis, MN Freed, Frank, Shriver, New York Chemical Bank, New York Delahunty Gallery, Dallas, TX Best Products, Richmond, VA Skadden, Arps, New York Stephen Paine, Boston, MA Davis, Polk, Wardwell, New York Roger Sonnabend, Boston, MA Fabric Workshop and Museum, Philadelphia, PA Zimmerli Archives, Rutgers University, New Brunswick, NJ GRANTS AND AWARDS Temple University Study leave, 1980, 1987,1994, 2002 Visual Arts Fellowship, National Endowment for the Arts, 1987 Visual Arts Fellowship, National Endowment for the Arts, 1980 New York State Council for the Arts, 1977 Yaddo Residency Grant, 1976 MacDowell Residency Grant, 1976 Indiana University Fellowship, 1970 CATALOGUES Painting ’75,’76,’77 Critic’s Choice Contemporary Drawing, Philadelphia Thick Paint Margo Margolis, Miami Dade College Exchange III Nature as Image Ground Work Presenze Chemical Bank: An Art Collection in Perspective Margo Margolis, Esso Gallery BIBLIOGRAPHY Richard Lorber, Arts Magazine, September 1976 Art Week, October 23, 1976 Henry J. Seldis, Los Angles Times David Rush, "Paintings with a Sculptural Character," Art Week, October 30, 1976 Allen Ellensweig, Arts Magazine, April 1977 Richard Brugin, New York Arts Journal, September 1977 Mary Delahoyd, "Painting '75, '76, '77" (catalogue essay) 1977 Hayden Herrera, "Critics' Choice," Joe and Emily Lowe Art Gallery, Syracuse, New York and Munson-Williams-Proctor Institute, Utica, New York (catalogue essay) 1977 John Russell, New York Times, June 1978 Carter Ratcliffe, "Thick Paint" University of Chicago, IL (catalogue essay) 1978 Ann Percy, "Contemporary Drawings, Philadelphia," Pennsylvania Academy of Fine Arts (catalogue essay) 1978 Alexandra Anderson, Village Voice, March 26, 1979 Peter Frank, "In One Medium, Out the Other," Village Voice, April 9, 1979 Thomas Lawson, Art in America, October 1979 Karen Valdes, Margo Margolis, Miami-Dade Community College, (catalogue essay) 1979 Print Collector's Newsletter, Spring 1979 Lee Edwards...

This abstraction by NY based artist Margo Margolis has a very sophisticated/playful sensibility with brilliant, intense color (light blue, dark blue, orange and white) which is the significant attribute of the artist's flashe medium, a water based French paint. Consisting of multiple layers of underpainting and glazing, and contrasts between hard and soft edges, these paintings not only have associations with Henri Matisse's palette and Alexander Calder's sculptural forms, but also share in these artists' complexities after relatively straightforward initial first takes. Fresh and intelligent exploration into the possibilities for abstraction are Margolis's focus, and her paintings achieve that rare quality of making abstraction feel new. Margo Margolis "Blue, Blue" 2022 Flashe on Canvas 40 x 32 x 1.25 Inches This painting is unframed and framing is not necessary as the sides are painted white. It is currently on view in an exhibition of the artist's work in Wellesley, MA where it is featured in a group of works of varying sizes, small, medium, and large: 24 x 20 inches, 40 x 32 inches, 72 x 60 inches, and works on paper measuring 30 x 22 inches. Also available are a series of earlier small canvases measuring 14 x 11 inches each which also work well as groupings. Margolis’s continuing commitment to abstract painting dates back to the early 1970s when she began exhibiting with the Brooke Alexander Gallery in New York where she had several shows. In addition her work has been exhibited throughout the country at numerous galleries and institutions including The Pennsylvania Academy of Art, The Renaissance Society, The Munson-Williams Proctor Institute and Halls Walls, among others. In reviewing the artist’s 1993 exhibition in the Beth Urdang...

This abstraction by NY based artist Margo Margolis has a very sophisticated/playful sensibility with brilliant, intense color (yellow, blue, orange, purple, black and white) which is the significant attribute of the artist's flashe medium, a water based French paint. Consisting of multiple layers of underpainting and glazing, and frequent contrasts between hard and soft edges, these paintings not only have associations with Henri Matisse's palette and Alexander Calder's sculptural forms, but also share in these artists' complexities after relatively straightforward initial first takes. Fresh and intelligent exploration into the possibilities for abstraction are Margolis's focus, and her paintings achieve that rare quality of making abstraction feel new. Margo Margolis "Night into Day" 2022 Flashe on Canvas 24 x 20 x 1.25 Inches This painting is unframed and framing is not necessary as the sides are painted white. It is currently on view in an exhibition of the artist's work in Wellesley, MA where it is featured in a group of works of varying sizes, small, medium, and large: 24 x 20 inches, 40 x 32 inches, 72 x 60 inches, and works on paper measuring 30 x 22 inches. Also available are a series of earlier small canvases measuring 14 x 11 inches each which also work well as groupings. Margolis’s continuing commitment to abstract painting dates back to the early 1970s when she began exhibiting with the Brooke Alexander Gallery...

Checking Automne, 2017, Oil on Found Wood 7.5 x 64 x 1.5 Inches. This painting is currently on view in a one-person exhibition of the artist's works at the Beth Urdang Gallery in ...

"Small Abstract #138," Oil on Canvas, 8 x 8 Inches, is a brilliantly colored, gorgeous and lush abstraction, very expressionist and fluid in style in shades white, blue, green and y...

Full Title: Alluring Fascination. Is this Enclosure Impenetrable? Most visual art represents more than what is illustrated. For example, Jackson Pollack’s drip paintings are in...

"Small Abstract #132," Oil on Canvas, 8 x 8 Inches, is a brilliantly colored, gorgeous and lush abstraction, very expressionist and fluid in style in shades of white, red, purple, b...

Watching Change, 2016, Mixed Media on Wood Panel, 24 x 18 Inches Playful geometric abstraction of multi-layered shapes and linear zig zag elements in shades of tan, black and white,...

"Balancing Act" 2018, Acrylic and Gouache on 2 Panels, 24 1/2 x 36 inches (Diptych) Abstraction in shades or orange, red, blue, cream, and brown. This painting consists of 2 pan...

Small Abstract #125," Oil on Canvas, 8 x 8 Inches, is a brilliantly colored, gorgeous and lush abstraction, very expressionist and fluid in style in shades of orange, yellow, white,...

Shifting References, 2014, Mixed Media on Wood Panel, 24 x 24 Inches. Playful geometric abstraction of multi-layered shapes and linear zig zag elements in shades of tan, black and w...

"Spiral Leap" 2020, Acrylic and Gouache on Panels, 48 x 48 x 1 inches (Diptych) Abstraction in shades bright red, blues, white, and black. This painting consists of 2 panels whic...

"Map Voice #9, 10"" 2020, Gouache and Spray Paint on Yupo (2 Panels, Diptych). Abstraction in shades of bright chartreuse, blue, white and red. Yupo is a plastic coated panel....

Artist: Leestemaker, Luc Title: 2008.07 Date: 2008 Medium: Mixed Media Unframed Dimensions: 40" x 30" Signature: Signed Edition: Unique

"Small Abstract #116," Oil on Canvas, 8 x 8 Inches, is a brilliantly colored, lush abstraction, very expressionist and fluid in style in orange, white, blue, yellow, green and red. ...

"Peaches and Pears" 2019 Oil on Canvas 36 x 36 Inches Vividly colored Abstract Expressionist painting filled with light and energy, primarily in yellow, white, blue, chartreuse an...

Navy, 2017, Oil on Painted Plywood, 12x 12 x 1 Inches. This painting is currently on view in a one-person exhibition of the artist's works at the Beth Urdang Gallery in Boston. Jean...

Fractured, vivid colors push and pull in a lively composition.This is a departure for me in that it steers away from calligraphic mark making. Painted around the summer solstice when...

A kaleidoscope of crescent shaped brushstrokes interspersed with abstract marks of red and violet oxide. :: Painting :: Abstract :: This piece comes with an official certificate of ...

Born and raised in New York City, Jeannie Motherwell inherited a love of painting from her father, Robert Motherwell, and stepmother, Helen Frankenthaler, two pillars of mid-century abstraction. She studied painting at Bard College and the Art Students League in New York. Continuing with her art after college, she became active in arts education at the Bruce Museum in Greenwich, CT. Later, relocating to Cambridge, MA, she worked at Boston University for the graduate program in Arts Administration 2002 - 2015. She served on the Cambridge Arts Council Public Art Commission from 2004 – 2007 and is currently on the Provincetown Arts Magazine Board of Directors, an Honorary Art Advisor Member for Rochester Museum of Fine Arts (NH), and is on the Advisory Board for Joy Street Artists Open Studios in Somerville, MA. Her work has been featured in public and private collections throughout the US and abroad. Jeannie’s studio is in Somerville, MA. She is represented by the M Fine Arts Galerie...

Born and raised in New York City, Jeannie Motherwell inherited a love of painting from her father, Robert Motherwell, and stepmother, Helen Frankenthaler, two pillars of mid-century abstraction. She studied painting at Bard College and the Art Students League in New York. Continuing with her art after college, she became active in arts education at the Bruce Museum in Greenwich, CT. Later, relocating to Cambridge, MA, she worked at Boston University for the graduate program in Arts Administration 2002 - 2015. She served on the Cambridge Arts Council Public Art Commission from 2004 – 2007 and is currently on the Provincetown Arts Magazine Board of Directors, an Honorary Art Advisor Member for Rochester Museum of Fine Arts (NH), and is on the Advisory Board for Joy Street Artists Open Studios in Somerville, MA. Her work has been featured in public and private collections throughout the US and abroad. Jeannie’s studio is in Somerville, MA. She is represented by the M Fine Arts Galerie...

A colorful composition of oranges, greens and blues with bold, spontaneous brushstrokes of oxide red and off white. This was painted during a period of time that I was writing a song that turned out to be I Call Your Name...

"Brilliantly Colored Grid of Small Abstract Expressionist Paintings," Oil on Canvas, 64 x 64 Inches, is a lush abstraction, very...

Chase Langford has invented a distinctive visual language that is grounded in the natural and built environment while embarking into uncharted territory. His impactful depictions recall maps and aerial photography of sea coasts, mountains, farmland and cities through a calculated execution and highly refined draftsmanship. Just as the West Coast Abstract Expressionists (1940 to 1970) found California’s striking landscape fertile ground, so does Langford as he draws upon his geographic environs both near and far. Through his cartographic mastery, Langford contorts and synthesizes geographic elements, bringing forth paintings that are mysteriously familiar yet surprisingly unconventional. They challenge conventions of geography and landscapes, offering invigorating visions of space and place that transcend any specific locale, leading us to an exhilarating emotional experience. Bio Chase Langford born in Pontiac, Michigan, is a Los Angeles-based artist well known for his geographically inspired paintings. He studied cartography earning a BA from UC Santa Barbara in Geography then worked as a cartographer at UCLA. Starting with his Map Paintings he literally reinterpreted geography by taking selected features from maps and filled in the reconfigured shapes in a flurry of color and movement creating a fresh take on familiar geographic forms. This followed with series that moved even deeper into pure abstraction with his Coldwater, Mulholland, and Scrape series which all lead to his Morphic series, now the core focus of his painting today. His paintings have been widely shown at one-person and group exhibitions in Los Angeles, New York City, Washington DC, Montreal, Palo Alto, Las Vegas, Long Beach, Napa Valley, Seattle, and Palm Springs and included many corporate/public collections (often site specific commissions) such as Long Beach Musuem of Art, Keck School of Medicine at USC, Michael & Susan Dell Foundation, Star City...

"Untitled" Small Abstraction in Black and White, Pop Sensibility. Flashe on Canvas, 14 x 11 Inches. This painting has a very sophisticated sensibility in that it is purely abstra...

"Green Fields" 2019 Oil on Canvas 48 x 36 Inches Vividly colored Abstract Expressionist painting filled with light and energy, primarily in white, chartreuse, blue, turquoise, burgu...

"Coffee (Marquee)" Acrylic on Panel 48 x 12 inches Charlotte Gibbs’ "flag," star," and text paintings often reference the artist's interest in Pop art and sometimes incorporate ...

A hodge podge of marks and symbols in a field of pinks. Happenstance came into play here and resulted in some interesting juxtapositions. :: Painting :: Abstract :: This piece comes ...

Abstract signs and symbols of varying line weights on a background of bright and unsaturated colors. To me, this painting has a musical quality, with a theme stated and riffed upon,...

Contemporary abstract - bursts of bright color pop out of white lattice design - unstretched - ships in tube :: Painting :: Abstract :: This piece comes with an official certificate ...

A vibrant array of pencil scribbles and gestural brushstrokes on a background of yellows, oranges and grays. This was painted in the late fall, when thoughts turned to warmer climes....

Skip as a child and you will feel refreshed and happy. :: Painting :: Abstract :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang:...

Loose, spontaneous brush and pencil strokes on an unsaturated background of browns, highlighted with hints of teal, green and orange. There are many layers going on here and brush ma...

Loose pencil and acrylic marks on a background of washes and a horizontal line grid. This painting started out with unsaturated colors and I gradually added saturated colors to juxta...

A mish mash of bold black brushstrokes with glimmers of saturated color connected by a matrix of whites and off whites. This painting was painted in the dead of the winter, when the ...

A colorful composition of whimsical signs and symbols a background of loose acrylic washes and swatches of color. Painted when a chaotic renovation was...

A limited palette, predominately yellow composition of loosely brushed signs and symbols. Painted over the holiday season, it conveys optimism for the new year. Unstretched - ships i...

A colorful array of signs and symbols on a loose wash background of greys, ochres and yellows. To me this painting has a festive feel and reminds me of the Caribbean. Hence the title...

A willy nilly composition of black and brown brushstrokes dividing the picture plane. This painting was completed over a long period of time. :: Painting :: Abstract :: This piece co...

A composition of loose, layered signs and symbols with a limited palette. For some reason this painting reminded me of a box of chocolates.Unstretche...

Spontaneous signs and symbols on a loose background wash of pastel oranges, yellows and greens. To me, this painting has the feeling of a light dessert. Parfait seemed the perfect ti...

A colorful and chaotic composition of abstract signs and symbols. The energetic line work against an unsaturated background of warm greys reminded me of the night sky, hence the titl...

A crazy quilt of spontaneous brushstrokes and pencil explorations on a background of drippy washes. I think this painting has a joyful feeling about it, which called to mind the great early rock and roll song by Little Richard...

"Tilted Square," Acrylic and Oil on Panel, 18 x 18 Inches, is an elegant and complex geometric abstraction in black, olive green, light blue and brown. Exquisitely crafted, there i...