Burton Gray Landhuis
He wasn’t born with a pencil in his hand - he was given one by his mother, at age 4, to keep him quiet during church services. He has been drawing and painting ever since.
Through hard work, careful study and a formal education Burton became a highly proficent oil painter and began to explore his imagination, in much the same way as when he was a child. Once he began to photograph his paintings to paint over them digitally in order to try new colors, compositions and ideas he quickly saw the liberating potential of working in a digital medium. In 2005 he made the break from oil and made the move to exclusively painting digitally.
A pioneer in digital painting and the digital medium, he has developed a process and a style of art known as “Living Art,” a new method for art creation, marketing, and selling. It features art that an artist lives with and continually works on throughout his or her life, selling updated versions of paintings to art patrons online, in galleries and from one’s own studio.
Currently, Burton is known for his “Fantasia” style imagery that features colorful, ornately detailed imagery wrapped around a larger structure or body. Much of his work can be seen in various Spectrum annuals, while his ANIMAL series, a collection of painting that infuse classic portraiture styles with farm animals and pets can be seen in CommArts 2013 Illustration Annual. To date, his signature piece, “SKULL” brings flocks of admirers to the Burton Gray Studio, located in the Brewery Artist Complex, north of Dowtown Los Angeles.
Burton Gray Living Edition prints are sold HERE and local galleries feature works mounted on wood panels and coated in epoxy resin.
Dynamic orange cliffs crested with lush green foliage, wet canyons, hot dusty hillsides and the relentlessly steep hills of the Palos Verdes Peninsula shaped my aesthetic sensibility during my youth and continue to influence how I view a blank canvas. My formal compositions are a reflection of this sensibility and are characterized by organic elements built over a uniquely loose and organic geometric structure (much like plants growing over rolling hills, or to the edge of a cliff). Juxtapositions of sharp contrasts with expressive areas of calm communicate a primary design of the human eye: to identify changes in the environments topography in order to navigate through a potentially threatening environment. Changes in hue, value, saturation, and texture are the tools I use to mimic or contort reality in provocative poetic statements and observations. Preferring to work solely from imagination rather than from photos I work loose and get lost in the hills and valleys of the environments and narratives of my subliminal and conscious mind. It is a process that is as rewarding as it is revealing.