Current Exhibitions

Palm Beach

Noah Landfield

Ephemeral Cities

Noah Landfield was born and raised in New York City in a Tribeca that was still full of commercial lofts and artists’ residences; fertile soil for a budding artist. The naturally gifted Landfield followed in the path of his father and grandfather, both accomplished painters, and began making art from a young age. His formal training led to an MFA, after which he immediately began exhibiting in galleries throughout the United States.

Landfield’s paintings are redolent of the tension between urban structures and the forces of nature, reflecting on their ability to coexist and allowing for a further mediation on time and energy. Line, shape and texture underscore the highly saturated color and imagery in Landfield’s work, inviting the viewer to enjoy the challenge to their perception. Vibrant colors draw our attention to a seemingly abstract composition, which in turn, reveals clouds and a city below. 

The artist states that “Paintings can be magic, healing objects, and I am interested in this idea of how my paintings function in the world that way. We are all ephemeral beings in an ephemeral world. My paintings have a lot to do with these ideas of ephemerality: color, light, duration. I also depict images of cities and objects we might think to be permanent and solid but, in fact, are just as ephemeral as flesh and blood. In a way, I would like the work to speak to this totality of nature that we are all a part of.”

“Billowing, flowing, and crumbling, the recent paintings of Noah Landfield, in Ephemeral Cities, chart vectors of movement, force, and energy as they play out in both natural and human-made manifestations.”  

  William Corwin, Brooklyn Rail, 2022

Henrik Simonsen

To Grow – Recent Works

The works of Henrik Simonsen connect the viewer with the mysterious and almost magical side of nature. While exacting in detail and technically virtuous, his paintings are truly about the spirit behind that which man did not create. The craggy forms of his trees, the rhythms of the leaves, the detailed petals in his flowers are all a reminder of the natural world’s beauty; and yet, they are not realistic or naturalistic works, they are contemporary works that combine the strength and movement of abstract painting with an insight of nature’s rhythm and beauty.

“As an artist working alone in my studio, I was fortunate to have my own space during the pandemic; but none of us exist in isolation. The influence from the outside world filtered through me onto the canvas. I became more aware of time than ever, how we measure it and what it means to us. For me, my experience of time altered, stretched, felt longer and more fragile. Everything slowed down and seemed less defined.

Many of the paintings in this exhibition originated from the observation of time. For example, the four paintings that make up the season series demonstrate the change in the natural world that occurs during a year in Northern Europe, while the works from the light series (Winter Light and “Green Light) aim to capture an ephemeral and brief moment.

As the world opened and scaled down on its restrictions, my work also took on a renewed sense of space as it acquired layers of depth. This renewed sense of space is the source of the perceived three-dimensional quality that enhances the precise details that make up the elements in my work.” – Henrik Simonsen, 2022

Amanda C. Ross

Contemporary Ceramicist

Findlay Galleries proudly presents a collection of classically beautiful ceramic works by contemporary ceramicist Amanda C. Ross. Ross’ intricate ceramic sculptures denote a nuanced and deep understanding of form and color. While some of her sculptures burst with the exuberant hues of nature, others show an absence of color, highlighting her delicate form and technique. Findlay Galleries invites you to view these works at our iconic Worth Avenue Gallery in Palm Beach.

“My clay sculptures replicate an artistic journey inspired by the precision of hyperrealistic still lifes created by the Dutch Masters to the abstractions of Arp and Brancusi. Both styles start with a block of clay, and the finished works embody the essential beauty of nature in their floral form.

The way seeds morph into things of beauty is an analogue to the creative process. My approach consists of arduous hand modeling techniques. I build these vessels using wheel and coiling techniques, then form and arrange each petal by hand. I then glaze the stoneware and sometimes introduce color using acrylics to transform the clay into an aesthetically pleasing and permanent object. The contrast between my work’s handmade, heavyweight permanency and the natural, impermanent featherweight fragility of flowers creates a unique tension in my works.

Just as every floral species is particular to itself, so is each of these works of art. In this case, the hand of the creator is invisible yet somehow palpable and personal, making each work of art unique. My work has universal appeal; whether you are an art historian or a casual viewer, I aim for my works to resonate uniquely with each viewer, promoting life and beauty in a permanent medium.”

– Amanda Ross, 2022

New York

Ptolemy Mann

Thresholds II

After the great success of Ptolemy Mann’s debut Findlay Galleries exhibition in Palm Beach, we are pleased to present Thresholds II at our New York Gallery location. Findlay Galleries will showcase the British abstract artist’s new and recent woven textile works and abstract paintings. This exhibition also includes her new series of abstract expressionist paintings called When Did we Become so Afraid of Beauty, a series of works created on black Arches paper that explore our relationship to darkness and beauty. The combination of her bold brushstrokes and fluorescent palette over the dark chalky underlay transpires to create a unique sensuality – a shameless and dark kind of chromatic beauty.

Mann graduated from her formal artistic studies at Central Saint Martins and the Royal College of Art. Since 1992, she has been creating architectural and chromatic artworks for private, public, and corporate clients using her signature hand-dyed and woven technique. Her time-consuming and unique approach to creating her artworks has evolved in the past twenty years; she also creates large-scale acrylic and gouache paintings on Arches paper and canvas. Mann states, “In complete contrast to the exquisite slowness of the woven artworks, these paintings are punches of spontaneous, emotional color.” She expresses a deep sense of craftsmanship and precision and is heavily influenced by Abstract Expressionism and architecture, with the term “chromatic minimalism” being applied to her work.

Visit us at Findlay Galleries on the second floor at 32 East 57th Street, New York, to view Ptolemy Mann’s unique and stunning works, which exhibit a complimenting synergy, marrying the beauties of textural and tonal variance from muted gradations to fluorescent color fields.

Timeless Composition

Group Exhibition

Findlay Galleries is pleased to present the Timeless Composition: Traditional + Contemporary. This exhibition comprises pairs of paintings from different periods and reveals the surprising way two works can share compositional elements despite no thematic similarity or relation.  

These timeless compositions invite the viewer to discern the similarities in form, scale, perspective, movement, balance, and color. Viewers can find pairings of works from artists such as Leonard Nelson and Mary Sipp Green, Tadashi Asoma and Henrik Simonsen, Robert Antoine Pinchon and Ronnie Landfield, and others. The exhibition seeks to illustrate common subjects painted in both representational and abstract manners. It also aims to demonstrate that works of art of different styles, periods, and subjects can, broadly speaking, share a similar composition.


Group Exhibition

Findlay Galleries is proud to present our Red Group Exhibition on view at Findlay Galleries, New York, from Tuesday, February 1st, to Tuesday, March 15th, 2022. Following our successful 2019 exhibition Yellow, Red is the 2nd iteration of our series exhibitions focusing on the implications of colors and how they are used. 

The exhibition takes an in-depth look at the color red and how it is employed by our roster of artists, finding similarities in composition, mark-making, and overall feeling. For example, without closer examination, the viewer could easily overlook the affinities found in the paint application and color choices between Abstract Expressionist Leonard Nelson and painter of the Hanoi School Vu Cao Dam. Nelson uses red abstractly to create harmonies with color and stir the viewer’s emotion, while Vu Cao Dam uses it more literally, applying it to figures and landscapes. Most would never think to find parallels among such disparate artists, yet there are many. It shows us that the founding principles of art-making and color theory are always at play. 

Red is also a celebration of the color and a couple of its representations – Love and luck. For February, marking the beginning of the Lunar New Year and being the month of Valentine’s Day, red is the perfect color to showcase.

“Our exhibition “Red” underlines the strength, assertiveness, and understated nuances found in paintings completed in a predominantly red palette. Including works by Emile Othon Friesz, Robert Natkin, John Ferren, Ronnie Landfield and more, a great many canvases from our stable of artists have made expressive and impressive use of the color.” 

California Abstractionists

Group Exhibition

Findlay Galleries is pleased to present a group exhibition of abstract works from our esteemed collection of California Abstractionists at our New York gallery location.

“After World War II, many veterans enrolled in the California School of Fine Arts in San Francisco, using their GI Bill to further their art education. Most of these men and women were older than the average art student, more experienced, more sophisticated… As the student body of an art school, they were an exceptionally serious and vital group of people. They were concerned with the search for values on a level of maturity quite different from that of the usual student, perhaps because of their war experiences.

During this same period, in one of those peculiar conjunctions of history, a group of instructors were gathered together at the art school, under the direction of Douglas MacAgy, who was at the forefront of the development of a new abstract style of painting in America including artists such as Clyfford Still, Mark Rothko, Ad Reinhardt and others. The combination of these two factors, mature students and exceptional instructors, resulted in a solar flare in San Francisco’s art history. Cooperative galleries, run by the artists sprang up around town, and there was a passionate involvement of the painters in the new movement. Accurately or not, the French critics eventually named the development the “École du Pacific.” Many of the painters in San Francisco at that time are now nationally and internationally known.” – Mary Fuller, Art Forum, 1971

This exhibition includes works from Leonard Edmondson, John Grillo, Frank Lobdell, Gordon Onslow Ford, Fritz Rauh and Jack Wright, all artists who have influenced and participated in the California Abstract Expressionist movement in various ways.

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