Beauty - A Cause at Bill Lowe Gallery - www.lowegallery.com

BILL LOWE GALLERY C E L E B R A T I N G O U R 3 2 ND Y E A R A N N I V E R S A R Y

For over three decades, Bill Lowe Gallery has served as a portal to global visual culture for art enthusiasts around the world. Our unique juxtaposition of style and substance is articulated in exhibitions that embrace universal and eternal considerations with great visual drama. This has earned the gallery recognition as a sanctuary for the cross-cultural intersection of beauty and meaning.

The gallery’s philosophical architecture is built upon a reverence for the alchemical nature of artistic expression. Our vision honors the profoundly spiritual nature of visual language and the role it can play in affecting paradigm shifts at both a personal and societal level.

It is with this mandate that we have assembled a world-class stable of artists who intuitively have their fingers on the pulse of the Universe.

Their expression is not an ironic or satirical look at the human condition.

Instead, the gallery’s program presents powerful, content-driven works that utilize technical mastery and a visual eloquence to transform the human heart and soul at intimate levels.

For our collectors, the gallery is an oasis of beauty. Of civility. Of contemplation. This is coupled with a dynamism informed by a world view rooted in the metaphysical aspects of history, anthropology, spirituality, philosophy, psychology, and biology. Bill Lowe Gallery has a transformative impact that forever enlightens those who experience it.

Bill Lowe Gallery has become a cultural institution in the Southern United States. Our commitment is to reflect Atlanta’s emergence as the world’s new epicenter of art, science, and technology through a kinetic dialogue with artists and audiences across the globe.

BEAUTY: A CAUSE AT THE HAMPTONS FINE ART FAIR | 2021

For thirty-two years, Bill Lowe Gallery has advanced this unfolding of the first blossom. We have remained unequivocal in our commitment to the profoundly spiritual nature of visual language and the role it can play in affecting paradigm shifts on a personal and societal level. It is with this mandate Bill Lowe Gallery presents, Beauty: A Cause, a multi-exhibition presentation comprised of a mesmerizing configuration of works of art which reflect our intention to offer viewers a reprieve from the onerous darkness that has dominated much of mankind’s psyche in the past many years.

This exhibition is an examination of enduring artistic concerns – those that embrace themes that are eternal and universal, transcendent and exalted. In September 2021, at the Hamptons Fine Art Fair, what was once an unfettered principle guiding the manifestation of the greatest wonders of in the history of mankind, will be reimagined and delivered with uncompromising beauty. This exhibition presents the antidote to cynicism and irony, superficiality and condescension.

Beauty: A Cause presents a series of salons highlighting artistic voices from around the world including American artists Thornton Dial (1928 – 2016), Michael David and Herbert Creecy (1939 – 2003); Japaneseborn Hiro Yamagata, Sicilian painter Alfredo Bovio Di Giovanni (1907 – 1995), Portuguese artist Fernando Gaspar, French-born Sebastien Bayet and Mozambican painter Ididio Candja Candja and a myriad of others alongside ethnographic works from Africa and Oceania. whose breadth of conceptual concerns - though distinct and complex – maintain the transformative qualities of form, order and harmony.

“Let the power come. Let ecstasy erupt. Allow your h

magnificent creation and for the love, wisdom and pow

reverence a

- Ann M

heart to expand and overflow with adoration for this

wer that birthed it all. Rapture is needed now - rapture,

and grace.”

Mortifee

A L F R E D O ( 1 9 0 7 I T A L Y

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1 9 9 5 )

B O V I O

D I

G

G I O V A N N I "Di Giovanni is an artist endowed with an enviable technique and supported by an inexhaustible imagination."

- Gino Grassi

ALFREDO BOVIO DI GIOVANNI was born in Fontana Liri on June 11, 1907 and died in Naples on January 8, 1995. Di Giovanni’s father was a Civil Service employee and for this reason, he and his large family – originally from Sant’Afata dei Goti - had to move quite often. They lived in Piedmont, in the north of Italy for a long time and then came back to Campania, settling first in Avellino and finally, in 1920, in Herculaneum. The numerous moves undoubtedly influenced the inquisitive and lively personality of Alfredo.

As a youth he had a restless spirit and was eager to travel. His interest in figurative arts was already manifested during the years of his schooling. Only a little older than a teenager, he revealed an inclination to analyze in depth those facets of artistic language he perceived as being in great turmoil. Aware that innovations were occuring rapidly beyond the narrow horizons he was familiar with, he was motivated by the need to involve himself in the complex and vital world of the avant-garde on the other side of the Alps.

And so, he began travelling around Europe.

LIGHTNING, 1991 - 1994 Oil on Panel | 36 x 47 Inches

SENZA TITOLO 27 | Oil on Canvas | 49 x 39 Inches

UNTITLED 11 | Oil on Canvas | 77 x 73 Inches

SENZA TITOLO 28 | Oil on Canvas | 51 x 43 Inches

SENZA TITOLO 26 | Oil on Canvas | 49 x 39 Inches

SENZA TITOLO 25 | Oil on Canvas | 49 x 39 Inches

SENZA TITOLO 20 | Oil on Canvas | 55 x 39 Inches

SENZA TITOLO 21 | Oil on Canvas | 39 x 55 Inches

M I C H A E L

D A V I D

AMERICAN, NEW YORK

In MICHAEL DAVID’S latest works, he continues to combine and extend the language of abstraction through his use of materiality and paint handling with his use of personal, political, and literary narrative and storytelling, aligning himself with some of today’s greatest and most relevant practitioners of abstraction, Mark Bradford and Anselm Kiefer.

“Michael David may be the most innovative master of immediate surface since the Abstract Expressionists. He has acknowledged his debt to Abstract Expressionism, but he has transformed it.

Where the Abstract Expressionist paintings of the forties and fifties seem like modern cave paintings, as their crude, unfocused, often meandering, turbulent painterliness suggests, David seeks to reinstate prehistory, turning the cave into a temple. His more concentrated, dense and contemplative paintings have the aura of post history.

David’s abstract paintings renew immediacy; they reconstitute and strengthen, even apotheosize it. They raise it to a feverishly fresh intensity with their remarkable touch, indicating they are among the very best painterly abstractions made.”

- Donald Kuspit

EDEN LOST, 2021 Encaustic, Ceramic and Broken Glass on Wood 54 x 50 Inches

THE OLD MAN AND THE SEA, 2021 Encaustic and Ceramic on Birch Panel 70 x 75 Inches

THE TRIUMPH OF REASON OVER SQUALOR, 2021 Encaustic, Fabric, Oil Paint on Birch Plywood 70 x 75 Inches

THE ROSY FINGERED DAWN, 2021 Encaustic, Resin, Tar Paper on a Wood Panel 36 x 120 Inches

FABIO

MODICA ITALY

Sicilian painter FABIO MODICA is among the most passionately collected young artists of our time. His seductive work is characterized by an operatic use of color to cinematically depict the faces of hauntingly beautiful women. Modica’s artistic virtuosity has earned him acclaim from critics, curators and collectors around the world.

Modica’s most recent collection of works included in the catalog, The Defeat of Absence, are a tour de force in which he makes manifest his mandate to avoid the fall into an anarchist, “everything is art”, construct.

His blunt, luscious application of paint in a kaleidoscopic array of color presents the human visage as a topography of the soul. Fabio’s process and pictorial language rebuke vacant vocabularies that have long dominated contemporary art, and further underscore his fundamental belief that the artist should take a moral responsibility toward the recipients of their artistic creation.

Like an artist-scenographer, he lays down multi-layered coats of vibrant paint spread over a tortured canvas with rigorous spatula strokes as if he was “action painting”. Fabio’s colors are to be considered as phantom, that is, sheer visual specters deprived of any physical reality and, insofar as one can imagine – to be deemed as pure emotions (Isaac Newton).

The artist makes sure that his figures look beyond the viewer’s gaze by projecting them into the metaphysical dimension of the whole of time. . .”incorruptible time” – which is past, present and future at once.

PAIDIA XVIII, 2021 Volcanic Ash and Mixed Media on Table 79 x 95 Inches

GNOSIS : PENSIVENESS IV, 2021 Volcanic Ash and Mixed Media on Table 39 x 39 Inches

GNOSIS : AFFECTION II, 2021 Volcanic Ash and Mixed Media on Table 28 x 26 Inches

PRISONER OF MATTER LIV, 2019 Volcanic Ash and Mixed Media on Table 79 x 77 Inches

PRISONER OF MATTER LIV, 2019 Volcanic Ash and Mixed Media on Table 79 x 77 Inches

I L Í D I O C

C A N D J A C A N D J A M O Z A M B I Q U E

“Painting after painting, ILIDIO CANDJA CANDJA asserts his extraordinary creative freedom and produces a work of internal otherness to the art world without demagoguery or naïveté, influenced by what might have been his artistic training in the colourful tradition of his country.”

- Victor Pinto

In his paintings, Mozambican-born artist ILIDIO CANDJA CANDJA draws the audience into a personal exploration of his playful and dynamic energy. Executed in a style resonant with Abstract Expressionism and Action Painting, his works are characterized by spontaneous and confident brush strokes. Inspired by his heritage, the riot of colors, personal symbols and African textile prints all serve to infuse his canvases with both a psychological and visual vibrancy.

These painted collages by Candja are a compelling combination of cultural reflection and personal symbology. From abstracted backgrounds arise restless figures that belong to the artist’s own constructed mythology. Impulsive and aggressive gestures that reference Action Painting come together to create blurred ghosts, demonic entities, arachnids, and skeletons. An enigmatic tension arises in the work with the layering of more subtle geometrical and mathematical objects, photographs, and decorative elements taken from traditional African art and textiles.

AFRICA NÃO E BANANA 2, 2019 Acrylic and Mixed Media on Canvas 79 x 79 Inches

MEMÓRIAS E FANTASIAS 1, 2017 Acrylic and Mixed Media on Canvas 85 x 79 Inches

YOGA 1, 2018 Acrylic and Mixed Media on Canvas 79 x 79 Inches

GREENER FUTURE 2, 2019 Acrylic and Mixed Media on Canvas 71 x 79 Inches

THE SOUL OF NATURE, 2019 Acrylic and Mixed Media on Canvas 71 x 67 Inches

KING WA MARRABENTA, 2019 Acrylic and Mixed Media on Canvas 71 x 67 Inches

T H O R N T O N ( 1 9 2 8

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2 0 1 6 )

AMERICAN, ALABAMA

D I A

A L

"If everybody understand one another, wouldn’t nobody make art.

Art is something to open your eyes. Art is for understanding. "

“THORTON DIAL’S life is inseparable from history because he made it his business as an artist to be a historian. Dial lived history, then he represented it.” -

John Beardsley

Born in Emelle, Alabama in 1928, artistic giant Thornton Dial who never learned to read or write - rose to the pinnacle of contemporary art history over a thirty year trajectory that began as he approached 60 years of age. He died in 2016 at the age of 87.

Dial’s much-heralded retrospective, Hard Truths, launched from the Indianapolis Museum of Art in 2011 and subsequently traveled to the New Orleans Museum of Art, Mint Museum of Art in Charlotte, and the High Museum of Art Atlanta. The exhibition met with immense curatorial and critical acclaim and aroused a swell of high-profile media commentary, including Time Magazine, Wall Street Journal, and the New York Times, as well as features on CNN and Al Jazeera.

REMEMBERING

G THE ROAD, 1992 | Enamel, Tin, Rope, Carpet, Cloth, Vinyl & Wire on Wood | 85 x 121 x 3 Inches

THE DREAMER: THE HILLS AND THE MOUNTAINS, 1994 Oil, Spray Paint, Enamel, Tin, Rope, Carpet, Cloth, Vinyl & Wire on Wood 81 x 144 x 15 Inches

Works of art become sublime when the artist transcends his personal anguish, when he projects in the midst of a shrieking world an expression of living and its end that is silent and ordered.

- Robert Motherwell

RUNNING NEGRO, 1992 Oil, Acrylic, Burlap, Found Objects, Wood and Mixed Media on Panel 48 x 60 x 3 Inches

FAVORITES, 1992 - 1993 Industrial Carpet, Rope, Ceramic Modelling Paste, Splashzone Compound and Mixed Media on Canvas over Panel 78 x 78 x 4 Inches

LADY IN THE TIGER’S TAIL, 1990 Oil, Rope, Tin, Fabric and found Objects on Panel 71 x 90 x 2 Inches

COMING IN FROM THE BACKGROUND, 1996 Oil, Rope, Tin, Fabric and found Objects on Panel 54 x 62 x 8 Inches

SCRAMBLING TIGER, 1990 Oil, Rope, Tin, Fabric and found Objects on Panel 72 x 78 x 2 Inches

H

(193

AM

ERBERT CREECY

39 - 2003)

MERICAN, ATLANTA

Decidedly earthy and always inventive, HERBERT CREECY was part Abstract Expressionist wild man, part truth-seeker, and part pseudohayseed who was blessed with the sensibility of a philosopher king. He was a painter who obsessively made art for more than forty years - a passion that took hold of him in high school, propelled him through studies at the Atlanta College of Art, and landed him a fellowship from the government of France to work with printmaker Stanley William Hayter at Atelier 17, in Paris, at age twenty-five. He apprenticed for a year and joined the ranks of an august group of other Hayter trained artists including Jackson Pollock, Mark Rothko, Joan Miro, Marc Chagall, and Pablo Picasso. Creecy eventually found his artistic center in old six-thousand-square-foot former cotton warehouse in Barnesville, sixty miles southwest of Atlanta, Georgia where he worked and often lived for a quarter-century.

The totality of an artist’s work, as in the case of Herbert Creecy, is difficult to summarize in that the diversity is often what clarifies the painterly sensibility rather than exterior notions of how paintings conform to one another. With Creecy, there is little in the way of conformity, which may read as an attribute that gives his work its ultimate strength. As I have chosen to speak about the artist’s sensibilities as a painter as being in the present, the issue is not about the literal present but about “now” as opposed to the past being “then.” My perspective on the paintings of Creecy is that the sensibility of being “now” is what constitutes the present, which comes alive for anyone who takes the time to see his work as a contemporary experience that never goes away.

THE MAHARAJA’S GARDEN, 1993 - 1996 Oil, Acrylic and Mixed Media on Canvas 91 x 79 Inches

SIGNS ARE RISING IN THE EAST, 1997 Oil, Acrylic, Collage and Mixed Media on Canvas 78 x 78 Inches

FLOATING WINDS, 1997 Oil, Acrylic, Collage and Mixed Media on Canvas 78 x 67 Inches

FLOATING WINDS, 1997 Oil, Acrylic and Mixed Media on Canvas 66 x 66 Inches

HERALD, 1996 Oil, Acrylic, Collage and Mixed Media on Canvas 66 x 67 Inches

COASTAL DAWN, 1997 Oil, Acrylic and Mixed Media on Canvas 69 x 66 Inches

JIMMY O’ NEAL AMERICAN, ATLANTA “My paintings ARE mirrors - they reflect the person lookin

g at it, they’re in real time and they’re always changing.”

JIMMY O’NEAL, a classically trained painter, continually explores and expands the physical and metaphorical capabilities of the medium. Through his work he creates experiences that call forth the universal impulses of the human condition that exist underneath the surface of our consciousness. He strives to represent the unseen visual poetry of the frequencies that surround and interact with our senses. His interest in physics, science, and biology led him to develop such technological innovations as mirrored paint, which is used in the creation of large-scale paintings that are intended to envelop the viewer. He further examines science and the body in such artworks as “brain machine,” a device that produces paintings generated from the artist’s EEG readings in response to external stimuli.

O’Neal has exhibited in galleries and museums such as the The Rose Art Museum at Brandeis University, the Southeastern Center for Contemporary Art, and the Jacksonville Museum of Modern Art. He received his BFA in Illustration and his MFA in painting from Savannah College of Art and Design. His work has been commissioned by private and public institutions such as the Bechtler Museum of Modern Art. O’Neal is a successful public artist that has created works for the Merecedes-Benz Stadium, the Cobb Energy Building in Atlanta, Georgia; the Charlotte Area Transit System (CATS); and the Hanes Brands Theatre, Winston-Salem, North Carolina. Most recently his public work Seven Cymatic Sonata for CATS was recognized as one of the 50 best Public Art Commissions in 2012 by The Public Art Network, a program of the Americans for the Arts.

AS YOU LIKE IT, 2021 Acrylic Mirrored Paint on Panel 72 x 84 Inches

RAY TRACE, 2021 Acrylic Mirrored Paint on Panel 72 x 84 Inches

7 LBS OF

F LIGHT IN A 5LB RENDER, 2021 | Acrylic Mirrored Paint on Panel | 72 x 96 Inches

ALL SIXTEEN DANCES, 2021 Acrylic Mirrored Paint on Panel 72 x 60 Inches

STEVEN

SEINBER

AMERICAN, BROOKLYN

RG

STEVEN SEINBERG was born in Brooklyn, then later moved to Georgia, where he attended Atlanta College of Art for his BFA

and Georgia

State University for his MFA. Inspired by pioneering Abstract Expressionists such as Cy Twombly, Robert Motherwell, Mark Rothko, and Clyfford Still his work uses a formula of graphite, oil, and canvas to create these breath-like creations. Seinberg’s somber pallet, bold strokes, and poetic line work connect the outside world with motion as incessant and loss being inevitable. Seinberg is continually inspired by the biological senses, environmental factors, and emotional responses to these surroundings. His use of earth tones and bold strokes provide these mesmeratic applications, leaving the viewer in a transcendence of time and space.

Seinberg’s paintings ride on the edge of something unforeseen, a painterly ethos that gives the texture of his surfaces a sense of accuracy, another openness on the reality of what makes a painting become a painting. To accomplish this with alacrity and confidence is in itself meaningful. Seinberg’s paintings radiate a transcendence and grandeur on a scale that few painters are capable of achieving today. They re-open the fundamentals, and in doing so, offer a new chapter in the history of connoisseurship. To see a Seinberg painting with clarity, is to know where it exists in time and how it sustains an eloquence of its own.

NOTHING THAT COMES FROM THE OTHER WORLD, 2019 Oil, Charcoal and Graphite on Canvas 80 x 64 Inches

OPENED, 2020 Oil, Charcoal and Graphite on Canvas 60 x 54 Inches

TRUTH OF WATER, 2021 Oil, Charcoal and Graphite on Canvas 60 x 50 Inches

UNDER LIGHT AND WATER, 2021 Oil, Charcoal and Graphite on Canvas 60 x 156 Inches

M A G G I E

H A S B R O

AMERICAN, ATLANTA

O U C K

MAGGIE HASBROUCK has been living and working as an artist in Atlanta for almost thirty years. She began receiving major national acclaim in the early 1990s when her work was collected by celebrities including Elton John, John Mellencamp, Faith Hill, Jon Bon Jovi, and Courtney Cox, as well as a broad cross-section of collectors across the United States. Her work is the epitome of the intersection of classical beauty and contemporary concept. To this day, Maggie Hasbrouck remains one of the best-collected female artists in the South and a growing force on the national stage.

In her latest body of work, Hasbrouck returns to dramatic depictions of flowers – often single blooms – at the apex of their transformational beauty. The vibrancy and sensuality of these images is heightened by the artist’s recent incorporation of glass crystals into her technique. Hasbrouck melts these crystals over multiple layers of oil paint, dry pigment, and organic beeswax, resulting in a lustrous layer that enhances the mystery of the work.

BABY MAGNOLIA, 2021 | Photo Encaustic Acrylic And Crushed Glass | 60 x 80 Inches

"A thing of beauty is a joy forever | Its loveliness increases; it will never |Pass into nothingness; but still will keep | A bower quiet for us, and a sleep |Full of sweet dreams, and health, and quiet breathing."

- John Keats

BREATH WHITE PEONY, 2021 Photo Encaustic Acrylic And Crushed Glass 72 x 80 Inches

PINK TULIPS, 2017 | Photo Encaustic Acrylic And Crushed Glass | 36 x 48 Inches

AWAKENING, 2017 | Photo Encaustic Acrylic And Crushed Glass | 60 x 80 Inches

CARNAL FLOWER DANCE, 2017 Photo Encaustic Acrylic And Crushed Glass 48 x 60 Inches

D A N I E L S O U T H

B L I G N A U T

A F R I C A

South African artist DANIEL BLIGNAUT uses trees as a metaphor for the human condition — for instance, the visual measure of the passage of time, the seasonal cycle of death and rebirth, and the diversity of personalities. His work examines the physicality of trees, and in the way that time, environment and climate impacts the body to produce an enormous visual variety.

In his latest work, Daniel Blignaut returns to the subject of trees, which has fascinated me since childhood and occurred in his work since the early eighties. Instead of a representational depiction, Blignaut employ something similar to an Iconographic template to portray their presence, complexity, and majesty.

In “A Conversation with Trees,” the vibrant colors that have been a hallmark of Blignaut’s work are slightly de-saturated and toned down.

His exploration of the visual nature of his subject matter is expressed in a variety of visual and physical textures. The chess board pattern which has always been a dominant symbol now inhabits a new role as part of the broader language of pattern and texture.

AFRICAN DAWN, 2021 | Acrylic on Wood Panel | 48 x 72 Inches

DREAMING OF AFRICA, 2021 | Acrylic on Wood Panel | 96 x 72 Inches

MEMORIES OF AFRICA, 2021 | Acrylic on Wood Panel | 72 x 96 Inches

VISIONS OF AFRICA, 2021 | Acrylic on Wood Panel | 72 x 48 Inches

F E R N A N D O P O R T U G A L

G A S P A R

R

A self-taught artist exploring themes of identity and belonging, Portugesepainter FERNANDO GASPAR tells stories and recounts journeys through his work. Gaspar’s painting, sculpture, and poetry are rooted in a fascination with the concept of territorial identity. His paintings examine the relationship between brushstrokes rather than color relationships. Just as identity is determined by language and a sense of belonging, Gaspar attempts to reveal identifying marks and underscore similarities.

In Fernando Gaspar’s newest body of work, belonging to the Floating Machines Series, Atlantes, he continues quest for the essential in insistent, physical, movements. These magisterial paintings refer to the idea of a non-corporeal, ethereal, aquatic/aerial thing or place, living or mechanical. It intends to convey the feeling of something fantastic, in the most literary sense.

ATLANTES II, 2021 | Acrylic and Oil on Linen Canvas | 80 x 108 Inches

ATLANTES I, 2021 | Acrylic and Oil on Linen Canvas | 80 x 108 Inches

ATLANTES I, 2021 | Acrylic and Oil on Linen Canvas | 80 x 108 Inches

GARY KOMARIN AMERICAN, NEW YORK

Born in New York City, the son of a Czech architect and Viennese writer, GARY KOMARIN is a risk taker and considered a modern master in post painterly abstraction. Komarin’s stalwart images have an epic quality that grips the viewer with the idea that he or she is looking at a contemporary description of something timeless. For painter Gary Komarin, abstraction has never been a formal dead end. Rather, it has allowed him to challenge the limitations of the style to make painting ‘include more’ precisely because a recognizable image excludes too much. Komarin has exhibited extensively throughout the United States, the United Kingdom, Europe and Asia. He recently returned from a solo museum exhibition at the Musee Kiyoharu in Japan. The exhibition and catalog, Moon Flows like a Willow, was orchestrated by the Yoshi Foundation in Tokyo and Paris.

Komarin was also invited to show his work at the privately owned Musee Mougins in the South of France where he exhibited Vessel pieces from Twenty Four Vessels at Kit Mandor.

In 1996, Komarin’s work was included in a pivotal exhibition at 41 Greene Street where his work was shown with the paintings of Jean-Michel Basquiat, Philip Guston and Bill Traylor. Gary Komarin was invited to show in a catalog exhibition with Robert Motherwell and Sir Anthony Caro in Dublin in 2009. One of the paintings in this exhibition was recently acquired by Museo d’Arte Contemporanea di Roma. And in 2016, Komarin was invited to show with Joan Mitchell and Manuel Neri in Denver. In 2016, a 60 Minute Producer, Harry Moses, shot, produced and directed a short documentary film on Gary Komarin titled, The Painter’s Path (below). This follows Komarin’s invitation to participate in a film titled, The Chalkboard Chronicles, narrated by Spalding Grey. He was also included in a recent documentary on American master Clyfford Still, which was aired at the New Clyfford Still Museum in Denver, where Komarin’s work was also acquired for their permanent collection.

IBIS ISLAND, 2019 Oil, Acrylic, Graphite And Mixed Media on Canvas 72 x 60 Inches

THE GENERAL’S DAUGHTER, 2021 Oil, Acrylic, Graphite And Mixed Media on Canvas 72 x 71 Inches

COUNTRY LINE IN CRÈME AND LIME (DIPTYCH

H), 2021 | Oil, Acrylic, Graphite And Mixed Media on Canvas | 72 x 96 Inches

THE ROAD BARE AND WHITE, 2019 Oil, Graphite, Wax, Crayon, and Mixed Media on Canvas 72 x 48 Inches

THE VILLA AT LE BOSQUET, 2021 Oil, Acrylic, Graphite And Mixed Media on Canvas 60 x 48 Inches

BLUE RIVER RUNNING, 2021 Oil, Acrylic, Graphite And Mixed Media on Canvas 72 x 48 Inches

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