Jane Booth lives and works on a ranch overlooking broad, open vistas of native prairie, water, and sky, and uses this environment as a foundation for her work.
Schooled in ceramics, Booth pursued her love of sculpture and working with her hands by becoming a steel cutter and welder before she turned to fine art. This background continues to inform her paintings, which create a visceral sense of space and depth.
Often creating monumentally scaled, color saturated canvases, her process is tactile and physical. Booth begins by unrolling large swaths of raw canvas on the floor. Fully engaging all of her senses, she accesses a nonverbal internal landscape, translating into a felt sense of color and mark. Paint is poured and pushed by hand into the canvas; the degrees of separation between feeling and fulfillment are narrow.
Jane Booth is based in the Kansas City area. Her work is in 300+ private collections and numerous corporate collections.
Between Then And Now 64" x 66"
Ryukin 42" x 54"
Beyond Tanzania 77.5" x 107.5"
Seashore 78" x 64"
Bowerbird Nest 67" x 90"
These works are about the fusion of discovery, intent, and the movement and flow of an organizing chaos. My hope is that my abstract work provides an emotionally freeing and fluid experience, without any expectation on how to sense or respond to it.
I believe abstract art opens the door to problem solving, where anything is possible. Brainstorming creative ideas and then refining and shaping them is the essence of critical thinking.
My work starts from what would appear to be random chaos as I throw out ideas in the form of paint globs and large brushstrokes before organizing into something more structured. For me it’s about being strategic with the process, allowing the emotions of the moment to lead me, and yet to not be constrained by trying to hit a targeted goal with a finished object. I always start a painting with some concept, vision or idea, but I don’t always have to know where I’m going to end up. It’s about the discovery and how I build on it. It seems to me this is like the natural world, which has a process that takes disorganization, and organically rebuilds life and order out of that chaos. It builds on what works with greater intent as it becomes more complex. Does life have to know where it’s going in order to be successful? I know I’m working on a great piece when I totally lose control before bringing it back to something beautiful and better than I had imagined. I know many artists work with a similar process, but my pieces also end up looking like organic life forms, plants, tidal pools, and other fragments of the natural world. It is important to my work that I have spent decades painting representational landscapes, and now I am focused on abstract works that mimic the patterns of nature.
The journey is as important as the destination. Sometimes it’s about throwing paint to see what will come out most interesting and inspire the next obsession. Color relationships in my art have always been key, as I am drawn to play with what the eye thinks it sees and pull out the colors we don’t typically acknowledge. What gets me excited are the colors that have no name, the shapes of entangled fragments and the things that are only interesting because of what surrounds them. Sometimes the best stuff is in-between the big obvious stuff.
I love the visual sensation of impressionism with its freedom of light, color and brushstroke. What I also enjoy is moving in close until the work becomes abstract. I have been a Plein-Air impressionist painter for most of my thirty-year career as an artist. I see my abstract work as an extension of my landscapes without the constraints of horizon or representation. This allows me to create something that is sensual and amorphic where the viewer has the freedom to associate at will. I paint the atmosphere without painting clouds. I create oceans without painting water. I am depicting nature without drawing the trees.
I’ve been privileged with my classical training to study under the tutelage of many renowned contemporary artists including Ned Mueller, Quang Ho and Kevin McPherson. I studied while on an art scholarship at Young Harris College in North Georgia and earned my Bachelor of Fine Arts from Georgia Southern University. My career has afforded many opportunities to display in corporate shows, art festivals, galleries and businesses. I am also represented in many private collections. My obsession with nature and it’s influence on my work have thrived with my very nomadic lifestyle. I have lived in exotic Hawaii, scenic Northern California, the East Bay of San Francisco, the beautiful Piedmont of North Carolina, and the paradise of the Gulf Coast of Florida. I am currently planning the construction of my final studio in North Carolina.
Verdan Humbolt 64" x 56"
Urstiquoi 48" x 46"
Citronette 46" x 46"
Brash slabs of color. Broad washes of paint. Splashes of emotion. Rational, man-made shapes shaking hands with random, accidental painterly incident. Fields fraught with contradiction and contrast – light and dark, hot and cold, thick and thin, bright and dim, sharp and soft, predictable and unexpected.
The process, at least for me, is a little like boxing with Mike Tyson. You know you’re going to get hit and hit hard. The question is whether or not you can get back up and go the distance. The material, the paint, doesn’t always want to cooperate and in the end, it is a question of negotiating a new kind of peace and accepting what is offered to you in the moment.
I believe a great painting can be encountered just as we encounter nature. It doesn’t have to have an excuse. It doesn’t have to provide references to something else. It doesn’t have to depend on anything outside of itself. A great painting is meant to be felt through the eyes and has the potential to awaken emotional states and trigger strong personal associations.
It has always been this way. Even after walking away from my life as a successful starving artist in Boston during the early 1980s to earn a more lucrative living in the advertising and marketing world for some 30 years, I found myself starting over again only to reconnect with all of the issues that I found so intriguing at the start.
In many ways, it’s very much like I never stopped. My mojo just went into hibernation.
My influences include Hans Hoffmann, Richard Diebenkorn, Jackson Pollock and my mentor and teacher for six years, Robert S. Neuman.
Significant group shows:
1975 – Railroad Street Artists, Keene, NH
1976 – The Odd God, Boston, MA
1977 – Factory Fire Artists, Boston, MA
1981 – Boston Now, Institute of Contemporary Art, Boston MA
1982 – Another Look at the Figure, Sunne Savage Gallery, Boston, MA
1983 – Abstract Art New England, Danforth Museum, Framingham, MA
1984 – Boston Now: Emerging Massachusetts Painters, Boston MA
1981 – Clark Gallery, Lincoln, MA
1982 – New Paintings, Bridgewater State College, Bridgewater, MA
1983 – Clark Gallery, Lincoln, MA
2017 – Small Pieces, Southeastern Center for Contemporary Art, Winston-Salem, NC
2018 – Luminous Geometry, Stella G. Contemporary, Charlotte, NC
My work is represented innumerous private collections as well as public collections include General Electric, Bank of Boston, WANG Computer, DEC Corporation and many others. One of my paintings is in the permanent collection of The Boston Museum of Fine Arts.
Aurora 72" x 108"
Abadan 72" x 108
Purgatora 68" x 120"
Hirama 50" x 76"
Veraval 54" x 80"
Minab 38" x 84"
Duala 60" x 96"
Darzab 60" x 96"
Shimoga 60" x 66"
Mashhad 62" x 120"
Accabonic 34" x 92"
I'd like my work to slightly alter the chemistry of a room and give something to the viewer. I often utilize nontraditional materials to explore color, tone and texture. Meticulously applied medium brings to life vibrant stripes, intricate grids, shapes and repeated patterns. Intriguingly suspended paint droplets sometimes gravitate to the base, ultimately punctuating the work. I enjoy immersing myself in the challenge of understanding a process and strive for the sense of accomplishment associated with the mastering of a new technique. As an artist, I thrive on overcoming the obstacles that are present during these countless hours of trial and error. At the end of the day, the discoveries made during these sessions fuel new ideas and plant seeds for future experimentation and bodies of work.
This recent series of work titled "Archipelago Paintings" are inspired by the natural environments of Norway and time spent during early adolescence and young adulthood exploring the surrounding islands, fjords and bodies of water. These "private archipelagos" invoke serenity and represent a place for reflection on the life experiences that have shaped me as a person. A journey of self-discovery
I think of the works as matrices, or intersections; diagrams of things that shift in one’s experience over time. In a sense they are maps or diagrams of the physical world but as such do not function as external markers as much as accretions of cause and effect that indicate types and systems of relationships which have only one particular manifestation in the physical world. The paintings are renderings of the things we sense as being present, but do not see, or see only in part.
- Karl Klingbiel, 2014
In his dynamic, seductive abstractions, New York artist Karl Klingbiel distills the chaos of daily life into compositions that seem to shift beautifully over the canvas. Capturing a world of information that we sense all around us, but only process in part, his paintings are like “compendiums” of everything that makes up his frame of reference, from physical places to literature to artworks. “The visual aspects of the world have a huge impact on me—patterns, relationships, stunning moments,” he has said.
Klingbiel’s palette ranges from high-energy strokes in pure neon pink to densely layered areas of moody color, reflecting a full map of psychological states and visual contexts. In his work, he hopes to offer “something that is raw, unfiltered and unspecified, because I don’t want to give you a thing but rather everything.”
Klingbiel earned a B.A. from Yale University and has exhibited his paintings at numerous galleries in the U.S. and Europe. His work is included in the collections of the Museum of Modern Art, New York, the New York Public Library, the Castellani Art Museum, and the Agnes Gund Collection, among others.
BODEGA 48" X 54"
CAPTAIN AMERICA 48" X 65"
GODS OF FORTUNE 48" X 54"
LESTI'S DESSERTS 29" X 36"
IF I RAN THE CIRCUS 48" X 62"
IN THE PINES "29 X 45"
MANSERVANT AND MAIDSERVANT 48" X 54"
THE RUSSIAN ADIZ 48" X 43"
TOKYO NOIR 40" X 60"
WISH YOU WERE HERE 36" X 48"
I take a multi-faceted approach in my process; I construct a painting utilizing formal techniques in which I employ color theory, composition, and other classical methodology, but in addition to these more traditional approaches, I create metaphors in my work using the application of paint. I developed a process of painting on unprimed raw linen with colors that I’ve created through a mixture of pure pigment with various binders to achieve a multitude of surfaces and looks.
I start by staining the back of the linen with transparent pigment to create the first layer. I continue to apply layers of paint to each side of the linen using pouring techniques, brooms, scraping tools, and fabrics. I strive to create both physical and optical depth by employing color theory and the physicality of the paint mixtures. For me, the paint application works as metaphor for the way memory is constructed. The raw linen represents my lived experience. The first layer of paint, which I describe as a translucent fluid-like application, stands for the reminiscence, with a possibility of the unconscious mode seeping through. The fluid-like application itself stands for the dichotomy between the unconscious and conscious modes of remembrance, which is slippery or elusive on its own. The paint that is applied over the first layer represents further recalling of the experience. At some point through a repetition of examining the experience a new memory is constructed or is pushed to a point where the original experience is almost completely covered up. The painting becomes the priority at a certain point during the process and what is left is the idealized version of itself and the end product is an abstract painting.
When the painting drifts out of representation and becomes abstract, it is the paint reacting to itself and the history set before. It ceases to be a picture of a memory and place and transforms into a painting. It's not merely a formal painting conversation because the history of every mark before is part of a story. The mark-making becomes a covering, a veil, with residue and remnants of the past existing as well on the canvas. The veils of paint represent erasure, I use this application to draw more attention to the specific part of the composition. Some paint gestures represent a remembrance of the sensation of living that experience; The more abstract and specific colors are used depending on the situation. Other marks cover up a complete part of the paint that came before. This could represent a part of memory that is repressed. In the end, the painting is a by-product of an experience that once existed.
Blue From Up Here 60" x 44"
Left Bank 48" x 72"
Sky Blue Sky 55" x 52"
Early in his career Chris moved to the Lower East Side of New York and the vibrant 80’s art scene. The first shows he participated in were group shows at the iconic Club 57. While in New York, Chris secured a grant from the Committee for the Visual Arts and put together his first show at PS 122 on the Lower East Side.
In the past few years Chris's work has been shown at Valencia College, University of Central Florida, Snap! and Arts on Douglas, part of the Atlantic Center for the Arts.
His latest ongoing body work was previewed in the spring of 2017 at a show hosted by Canvas and curated by the Snap Gallery.
Chris has participated in one man shows and group shows throughout his career.
Chris is also a well known Creative Director and Art Director. His work has been recognized internationally and is in the permanent collection of the Museum of Modern Art. He has also won numerous Cannes Lions.
His paintings hang in collections throughout the US and in France.
Painting 48 - 60" x 60"
Acrylic on Canvas
Painting 71 - 48" x 48"
Acrylic on Canvas
Painting 35 - 60" x 72"
Acrylic on Canvas
Paper 14 - 40.5" x 55.5 (framed)
Acrylic, enamel and colored pencil on Paper
Paper 9 - 40.5" x 55.5" (framed)
Acrylic, enamel and colored pencil on Paper
Paper 15 - "40.5" x 55.5" (framed)
Acrylic on Paper
The artist’s new work is a breath of fresh air and takes cues from Thelen’s ever evolving and beloved circle motif. Thelen experiments with the simple shape of the circle and allows the process to build into something unexpected and open. "The collection has allowed me to examine myself and present a certain honesty in my work. It is a pure reflection of where I am in the present moment”, says Thelen.
Linc received his BFA in painting from Northern Illinois University. He continued his studies by traveling abroad to Italy and France focused on mastering the chiaroscuro techniques of the Renaissance Masters.
Painting for over two decades, Linc Thelen is an award-winning artist whose work is coveted in both private and public collections. Linc captures the classical principals of painting; composition, texture, form and light and transforms those prominent techniques to canvas. Linc Thelen’s paintings fuse his classical training with a modern perspective.
Linc’s work encompasses the evolution of the circle from precise architectural work to more free flowing organic forms. “The circle represents a metaphor and is the vehicle, which allows me to express myself. The circle can grow and evolve into different things that I can identify with. This body of work has a life of its own- a heartbeat. It evolves as I evolve", says Thelen.
ELATED 40" X 54" (SOLD)
ONCE A PIG 30" X 40"
SALMON 40" X 40"
ELATED II 40" X 54"
NEVER A PIG 30" X 40"
GREEN CRUSH 48" X 48"
We live in a world obsessed with image. What we look like, what our clothes look like, houses, cars... I like to counter this obsession with superficial appearance by using x-rays to strip back the layers and show what it is like under the surface. Often the integral beauty adds intrigue to the familiar. We all make assumptions based on the external visual aspects of what surrounds us and we are attracted to people and forms that are aesthetically pleasing. I like to challenge this automatic way that we react to just physical appearance by highlighting the, often surprising, inner beauty.
This society of ours, consumed as it is by image, is also becoming increasingly controlled by security and surveillance. Take a flight, or go into a high profile courtroom and your belongings will be x-rayed. The post arriving in corporations and government departments has often been x-rayed. Security cameras track our every move. Mobile phone receptions place us at any given time. Information is key to the fight against whatever we are meant to be fighting against. To create art with equipment and technology designed to help big brother delve deeper, to use some of that fancy complicated gadgetry that helps remove the freedom and individuality in our lives, to use that apparatus to create beauty brings a smile to my face.
To mix my metaphors, we all know we shouldn’t judge a book by its cover, that beauty is more than skin deep. By revealing the inside, the quintessential element of my art speculates upon what the manufactured and natural world really consists of.