Showing posts with label artfunlandscapes. Show all posts
Showing posts with label artfunlandscapes. Show all posts

Friday, August 7, 2026

Chris Ballantyne exhibition at the Steven Zevitas Gallery, August 7, 5:30- 8 pm. See details below.


Chris Ballantyne, Pool Overgrown, 2026, acrylic on panel, 36 x 48 inches (91.4 x 121.9 cm)




Please join us Tomorrow, August 7th, from 5:30 - 8pm for the opening reception of a solo exhibition with Chris Ballantyne


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CHRIS BALLANTYNE


On view through August 29, 2026

Opening reception: Friday, August 7, 5:30 - 8 pm


Steven Zevitas Gallery is pleased to present a solo exhibition of paintings and works on paper by Chris Ballantyne. The exhibition will be on view through August 29, 2026, with a reception on August 7, 2026 from 5:30 - 8 pm. 

 

Chris Ballantyne’s practice exists at the intersection of the natural world and man-made interventions. Each work is painted directly onto wooden panels, allowing thinned acrylic paint to seep into the grain, while thicker applications rest on the surface. This interplay of materials mirrors the works' central tension: the convergence of natural and organic materials.


Though the paintings evoke a palpable human presence, figures are never depicted. Instead, traces of erosion, synthetic structures, and spatial demarcations allude to human intervention and manufacturing. Yet even within these constructed environments, wildlife unrelentingly pushes back. Grass reclaims an empty concrete pool, reaching its roots toward the basin below; overgrown foliage engulfs a backyard fence, disregarding its attempted confinement; and a vibrant green weed emerges from the center of a meticulously-sectioned displacement of dirt. Across Ballantyne's work, the natural world resists containment, quietly but relentlessly reclaiming spaces shaped by human hands.




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CHRIS BALLANTYNE (b. 1972, Mobile, AL) lives and works in New York, NY. He was the recipient of several awards including the Tournesol Award and Residency at the Headlands Center for the Arts in 2004, a Joan Mitchell Foundation Grant in 2005, and a Tamarind Institute Invitational Residency in 2013. His work is included in public collections such as the Whitney Museum of American Art, New York, the Art Rotterdam Foundation, Rotterdam, The Netherlands, and the Judith Rothschild Foundation, New York, among others. Ballantyne received his BA from the University of South Florida, Tampa in 1997 and his MFA from San Francisco Art Institute in 2002. This is the artist’s fourth solo exhibition with the gallery. He has been the subject of over fifteen solo exhibitions in New York, Los Angeles, Berlin, Nashville and San Francisco.



Steven Zevitas Gallery // Z'M Projects | 450 Harrison Ave #47 | Boston, MA 02118 US

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Wednesday, July 29, 2026

Casy Chalem Anderson exhibits at THe F=Romany Kramoris Gallery Sag Harbor, August 13- September 3, 2026

The Spark Before the First Brushstroke



In the 07/29/2026 edition: 
By casey on Jul 28, 2026 05:45 pm

Wildflowers at Sea

Sharing the beginning of an oil painting……………

Most people imagine that a painting begins when the brush first touches the canvas. For me, it begins much earlier.

A few days ago, I was driving through Sag Harbor on my way to Southampton. As I passed Long Beach, something caught my eye. Along the edge of the bay, wildflowers had appeared as if overnight. Tall Queen Anne’s lace rose above the grasses, surrounded by delicate lavender blossoms that seemed to have volunteered their way into the landscape. Behind them was the bay, an extraordinary teal blue, deep and luminous, almost jewel-like in the morning light.

I pulled over.

I carefully walked into the grasses, taking photographs from every angle. Not because I intended to copy what I saw, but because I didn’t want to lose the feeling of that place. I knew immediately that this wasn’t simply a beautiful view; it was the beginning of a painting.

I still had to get to my errands, so the drive ahead became part of the creative process. I turned off the radio.

When an idea takes hold, I don’t want anything competing with it. My mind becomes completely absorbed. I begin asking myself questions. What size canvas wants to hold this scene? Should the flowers dominate, or should the sweep of the bay carry the painting? How much sky? What colors will capture that impossible blue-green water? Which greens will make the grasses glow?

It’s one of the greatest pleasures I know.

There is an excitement that comes before a painting exists, when everything is still possible. I don’t know exactly what the finished painting will look like. In fact, I never do. The reference photographs are only the starting point. The painting grows from memory, emotion, and intuition as much as observation.

That uncertainty is part of the magic. By the time I arrived back at my studio, I wasn’t thinking about the errands I had planned that day. I was thinking about pulling out a canvas, laying out paint, and searching for the right mixtures to capture the colors I had just witnessed and the feeling they left behind.

The painting now sits on my easel, still unfinished.

Its composition continues to evolve. Some flowers will disappear. Others will become more prominent. The grasses will shift. The light will find its way across the canvas in ways I can’t yet predict.

That is what I love most about painting. The finished work is never simply a record of a place. It is a record of being moved by a place.

Until next time,

Casey

 Show: Romany Kramoris Gallery, 41 Main Street, Sag Harbor, NY, August 13 – September 3, reception on Saturday, August 15, 5-6:30 PM

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