Maximalism
Randall David Tipton, November Gloaming, oil, 12x12 in.
October 15 through December 5, 2021
Our artists embrace excess with detail, color, and energy in these immersive maximalist paintings and photographs.
Overgrown entanglements of foliage and branches consume Randall David Tipton’s oil paintings. Overlaid and blended paint obscures the place where detritus ends and a passage through the forest begins.
Contrasting with Tipton’s thickets, Ann Lofquist precisely renders the leaves and branches of a sycamore in a realist large-scale panorama. Her attention to detail ennobles the quotidian in the Naturalist agrarian scene.
Erling Sjovold finds the Baroque in a gnarled fallen tree whose bare limbs dramatically reach up for help from the tree that is still standing.
While Sjovold is Baroque, Anne Ward is Rococo: wallpaper and tablecloths provide ornamental backdrops to her pop-colored flowers and sliced citrus.
Colors vibrate with psychedelic life in Michael Ferguson’s electric-colored textured landscapes. A pond and meadow emerge from chromatically contrasting layers of chartreuse and magenta. In a more subtle seascape, green, orange, and pink mosses clothe rocks braced against the impact of ocean waves.
Cement and vegetation intertwine in Susan Petty’s dense cityscape built from refined cross-hatched graphite lines.
Details in Bill Dewey’s aerial photographs portray impossible viewpoints and extreme scale, disorienting the viewer’s perception of reality.
Marcia Burtt's energetic brushstrokes feed a roaring creek.
Energy in Patricia Doyle's gesture paintings of reflections, ponds, and trees comes from every direction, skipping and streaking across water and foliage.
With swift brushstrokes and impossibly thick paint on miniature canvases, Dana Hooper proves that less can be maximalist.
Michael Ferguson, Breaking Pacific, acrylic, 31x43 in.
