Gregory Gibboney, (b. 1957, Santa Monica, CA) is a self-taught artist who has lived and worked in the North Lake Tahoe/Truckee area of northern California since 1983.
After painting and drawing for most of his life, Gregory began showing his work publicly in 1999 and now has a respectable list of private and corporate collectors throughout the United States.
Gregory’s paintings were exhibited by the SFMOMA Artists Gallery for over ten years. He has been featured at galleries in Northern California and Northern Nevada and was included in a group exhibit at the Nevada Museum of Art. He was also one of the first mixed-media artists to be accepted to the Sausalito Art Festival.
Since 2006 he has been selling his work online on his own site as well as SaatchiArt.com and ArtFinder.com.
Even before coming to the High Sierra, where the outdoor environment and it’s seasonal changes are so dramatic, I was drawn to the landscape as a subject for my drawings and paintings. Although the work shown here is from a few different series, involving different techniques and mediums, they are all connected by my intuitive style of working with materials and color.
Some of the landscape work, such as the Seasons Series, is influenced by my professional experience in design and architecture. Combining the constraints of a grid with the completely unrestrained wilderness creates a contrast of forms and composition that I find endlessly challenging and visually pleasing.
In another series, titled Displacement, prints and drawings were combined to create mixed media work featuring dead or dying trees “displaced” into a living landscape. Another juxtaposition, but this time in medium as well as subject matter.
For me, painting is much more about the journey than the destination and I have always made a point of truthfully exposing the process in my work. What may be perceived as unfinished is actually telling a story and creating a dialogue between the viewer and myself about how the piece was created.
ROSES FOR THERESE SERIES
Following a major surgery, my wife Therese decided to dry the flowers she was given while in the hospital, and they were hanging in our house. As caregiver, I was unable to get outdoors to draw or paint so the flowers grabbed my interest and eventually became my subject. Up to that point, I had not done much representational work, but the process turned out to be a beneficial escape. Tedious detail, which I normally avoided, was actually enjoyable and therapeutic. With each new piece, my natural brush work returned to compliment the realism. The results were both pleasing and cathartic.
Roses for Therese became the largest and most personal group of paintings I have produced to date. Emotions from a difficult time in our lives are unsympathetically exposed in this work, and I will always appreciate the healing they provided.