Exploring the intersections of art and architecture in work, American painter Graham Collins also incorporates traditional trades such as woodworking to create an oeuvre that examines the very outer periphery of abstraction.
Collin’s compositions incorporate a wide variety of color, however a review of his work reveals that he tends to work at two extremes: for many, his canvases resonated with the subtle tonal shifts of a monochromatic palette. In other works, Collins allows his color range to explode exponentially to create an almost patchwork like feel of intersecting forms or planes on an eclectic surface. These pairings, both chaotic and harmonious, present a novel commentary on the nature of abstraction in contemporary practice.
Born in Washington, D.C., in 1980, Collins is currently based in New York. He has enjoyed the exhibition of his work in a variety of locals since 2009. Recent solo exhibition galleries include the West Street Gallery in New York (2012); the Jonathan Viner Gallery in London (2014); and the Almine Rech Gallery in Brussels, Belgium (2016).