The Living, Evolving Work of Gary Clark
February 27 & 28 | Friday & Saturday | 4:00 - 8:00pm | 936 Oak Street, Orlando 32804
Eight viewing rooms — along with select off-site locations — present 71 paintings created across decades and organized especially for The Living, Evolving Work of Gary Clark — Art for a Cause. Each space offers a distinct perspective into a practice grounded in observation, intuition, and an enduring commitment to painting.
Online purchasing is available prior to the exhibition dates. Please copy and paste link to Artwork Archive where paintings (framed and unframed) can be viewed and pricing is available. https://www.artworkarchive.com/rooms/clarkgalleryofpaintings/6a907b
During event hours (4:00–8:00 PM), artwork is available for in-person purchase only using PayPal POS.
Purchased paintings are removed at the time of sale. Where applicable, shipping arrangements and rates will be provided. Paintings ship unframed unless otherwise arranged.
Guest artists Jerry Rosembert Moise and Eric Wise will paint live and display their work during the exhibition.
Dining Room
The Dining Room presents a group of landscape paintings based on places in central Florida. Roads, waterways, and shoreline scenes are rendered with loose brushwork, softened edges, and layered color. Together, the works emphasize observation and the physical handling of paint rather than detailed description.
River Road, 20x16. #1511. This painting presents a wide, open road near the St. John’s River in Geneva, Florida, leading toward dense vegetation in the distance. Vertical palms and softened reflections shape the composition through gesture and color.
Lake Ivanhoe, 36 x 48, #1512. This landscape presents Lake Ivanhoe in the College Park area of Orlando, Florida, with the downtown skyline faintly visible in the distance. Soft transitions of color and fluid brushwork emphasize openness and spatial clarity.
Beached, 24 x 18, #1504. This landscape depicts a quiet sandy shoreline along Lake Harney in Geneva, Florida, with a small boat subtly positioned within the scene. Loose, expressive brushwork and layered color allow land, water, and sky to soften and merge.
St. John's River Bywater, 22 x 28, #1510. This landscape offers a subtle impression of a narrow waterway along the St. John’s River near Osteen, Florida. Soft brushwork and layered greens suggest foliage and reflections, with light filtering through the scene.
Road to Lake Jessup, 30 x 24, #1509. This landscape presents a winding road near Lake Jessup in Oviedo, Florida. Expressive brushwork and shifting color create a sense of open space and distant light.
To Lake Jessup, 30 x 24, #1503. This painting depicts a dirt road leading toward the waters of Lake Jessup, framed by dense Florida vegetation. Layered brushwork and luminous color suggest depth and approach without sharp detail.
Druid Walk, 30 x 24, #1520. This painting depicts a shaded path along a quiet street in Maitland, Florida, near the artist’s home. Layered greens and softened edges create an enclosed space beneath a canopy of trees.
Family Room and Foyer
This viewing area brings together landscape and figurative paintings characterized by simplified form and gestural brushwork. Roads, paths, and figures are reduced to essential shapes, with space organized through color and movement rather than detailed representation. The works vary in their degree of abstraction while remaining grounded in recognizable subjects.
Ya-Ya’s, 36x36, #1386. This figurative painting presents a small group of women rendered with simplified form and expressive line. Each figure remains distinct in shape while sharing scale and proximity within the grouping. Form is maintained through contour and color while remaining loosely defined.
Path Through the Woods, 36x36, #1530. This painting presents a wooded path formed through loose, abstracted shapes and flowing brushwork. Greens, browns, and warm yellow tones blend and overlap, allowing the path to emerge without fixed detail. The landscape is structured through color relationships and directional flow.
Trail and Mountain, 40x30, #1686. This landscape is constructed through broad gesture and simplified form, with color and line suggesting terrain rather than defining it. A mountain shape appears in the distance, while trees and vegetation are reduced to layered marks in the foreground. Space is organized through rhythm and directional movement rather than linear perspective.
Jam, 30x24, #3024. This painting depicts a musician reduced to essential shape and gesture. The figure and instrument merge through loose brushwork, with form suggested through movement rather than detail. The composition relies on abstraction and mark-making to define the figure.
Woodside, 30x24, #3028. This landscape depicts a narrow road suggested through sweeping strokes and simplified structure. Trees and surrounding space appear as vertical passages of color, allowing the road to be read through contrast and placement. The composition is built through gesture and abstraction rather than detailed description.
Kitchen
The Kitchen serves as an impact wall, bringing together a focused selection of paintings that highlight the range of Clark’s work. Figures, interiors, architecture, and landscape appear side by side, offering a clear view of his varied subjects and approaches.
Across these works, observed forms are simplified and reorganized through bold contour, compressed space, and strong color relationships. While subjects differ, each painting reflects a consistent attention to drawing, surface, and compositional structure.
Lake View, 36 x 24, #1527. This landscape presents a shoreline, an expanse of water, and a setting sun. Layered color and softened edges allow the scene to remain suggestive, with the setting organized by broad transitions rather than precise detail.
Girl on Couch, 24 x 48, #1777. This abstracted figurative work depicts a reclining figure defined by strong contour lines and deliberately shaped areas of color. Facial features and limbs are present yet intentionally distorted, with form built through graphic structure rather than realism.
3 Girls, 36 x 30, #1764. This figurative abstraction presents three girls portrayed through simplified form, color, and line. The close grouping and shared scale organize the composition while allowing each figure to remain distinct.
City Block, 24 x 36, #1299. This abstract painting is composed of intersecting lines and geometric shapes arranged within a clearly defined space. Architectural form is suggested through structure and pattern rather than direct representation.
Lonely at the Top, 36 x 48, #1753. This figurative abstraction depicts a solitary man set within a simplified boardroom and city skyline. Strong contour lines and restrained color define the figure and surrounding space without relying on detailed description.
Crown of Flowers, 24 x 30, #1439. This figurative painting presents a face encircled by a ring of flowers. Soft brushwork and expressive color merge portrait and floral elements into a single, simplified arrangement.
Hall to the Backyard
This hallway brings together a small group of figurative and still-life works alongside landscape views. Birds, waterways, and figures appear through simplified form, loose brushwork, and layered color. The paintings are organized by surface, placement, and gesture, creating a visual transition between interior and exterior spaces.
Petite Bouquet, 30 x 24, #1865. This still life presents a small bouquet suggested through thick, layered strokes of bright color. Form is built through texture and surface rather than detailed botanical description.
River View, 24 x 36, #1506. This landscape presents a distant view of a broad stretch of water near the St. John’s River. Layered blues and greens with softened reflections organize the scene through horizontal movement.
Egret, 24 x 36, #1864. This painting depicts a white egret standing among dense shrubs. Blue sky above and green brushwork below frame the vertical figure through simplified form.
Egret Stance, 24 x 36 x 1.5, #1558. This painting depicts a single egret positioned within surrounding brush. Soft, light brushwork and subtle shifts in color define the bird and its setting without sharp detail.
Sun Girl, 22 x 30, #1691. This abstracted figurative work presents a girl’s face and hair rendered with loose brushwork and bright color. Sweeping gesture and simplified form define the image without focusing on detailed likeness.
Drying Hair, 24 x 18, #1398. This figurative abstraction depicts the act of drying one’s hair through expressive brushwork and layered color. Motion and posture are suggested through gesture rather than precise detail.
Backyard Pergola
The Backyard Pergola area is a place for relaxation and contemplation. Please enjoy the space.
The Conversation, 30 x 40, #1616. This figurative painting depicts a man and woman seated side by side, viewed from behind. Their close placement and simplified forms are rendered with restrained brushwork and layered color.
Master Bedroom
The Master Bedroom presents a focused grouping of figurative works rendered through softened edges, simplified forms, and restrained palettes. Figures emerge through gesture, contour, and layered brushwork rather than detailed description. Together, these paintings emphasize close scale, surface, and the quiet presence of the human form.
Wild and Free, 36 x 36, #1390. This figurative abstraction presents a portrait-oriented figure with flowing hair rendered through loose, expressive brushwork. Sweeping movement and simplified form define the figure without detailed likeness.
Quiet Gaze, 20 x 16, #1454. This figurative abstraction presents a close-scale portrait rendered with simplified form and restrained color. Loose brushwork and softened edges organize the figure within a tight composition.
Gaze, 30 x 24, #1646. A frontal figure is presented with direct simplicity. Broad brushstrokes and restrained color define the form without emphasis on detail. The composition relies on proportion and surface rather than narrative cues.
Side, 30 x 24, #1643. A figure in profile is defined by flowing contours and selective line. The body is reduced to essential curves and planes. Color and shape work together to maintain clarity while remaining open.
Hat and Coat, 30 x 24, #1644. A frontal figure is loosely assembled through layered color and softened boundaries. Clothing and body merge through shared brushwork rather than sharp separation. The image balances structure with painterly openness.
Nude in Sepia, 28 x 22, #1639. This figurative abstraction depicts a nude woman rendered with loose, sketch-like brushwork against a light ground. A warm, limited sepia palette and simplified anatomy define the form.
Pretty in Sepia, 30 x 22, #1647. A softly defined nude figure emerges from a monochromatic ground. Gesture replaces anatomical detail, allowing the form to remain light and unresolved. The image maintains intimacy through economy of means.
At the Beach, 28 x 22, #1466. This figurative abstraction presents a woman rendered with loose, sketch-like brushwork against a light sepia ground. Warm, sand-toned color and linear marks suggest the figure without defining a specific setting.
Hall to Garage
This passageway features landscapes constructed through simplified forms, layered brushwork, and open spatial relationships. Roads, waterways, and distant structures appear as suggested elements rather than detailed descriptions. Together, the works emphasize surface, movement, and the gradual unfolding of space.
Fork in the Road, 30 x 30, #1535. A divided roadway moves through an open landscape, defined by broad passages of paint and simplified forms. Directional lines guide the eye while the surrounding space remains loosely articulated. Surface texture and color variation shape the scene more than detail.
Getaway, 30 x 30, #1538. A winding path leads toward a small, partially obscured structure set within layered foliage. Soft transitions between forms and restrained detail keep the setting suggestive. The composition relies on placement and paint handling to establish depth and movement.
Side Water, 30 x 30, #1534. A loosely rendered landscape presents a narrow body of water bordered by softened land forms. Layered brushwork and subtle shifts in tone allow the scene to remain open and spatially fluid. Natural elements are suggested rather than precisely defined.
Garage — Still Life / Flowers
Garage Flowers brings together floral still lifes approached through abstraction. Flowers are formed through layered color, gestural brushwork, and simplified structure rather than botanical detail. Across the room, the paintings emphasize surface, repetition, and compositional organization.
Artist Tools, 24 x 20, #1612. Paintbrushes are gathered in a loosely rendered vessel. Simplified form and open space organize the tools through gesture and surface.
Flowers on Red Table, 30 x 24, #1576. A vase of flowers is positioned on a strongly colored table. Simplified forms and bold horizontal and vertical elements organize the composition.
White Flowers, 24 x 36, #1574. A floral arrangement emerges through softened edges and restrained color. Subtle tonal shifts define the bouquet with minimal detail.
Flowers in Mug, 30 x 30, #1575. A simple mug holds a loose spray of flowers. Gestural brushwork and visible drips organize the image through movement and surface.
Flowers in Pot, 30 x 30, #1561. A low vessel supports a spreading arrangement of flowers. Layered paint and energetic strokes suggest volume and outward movement.
Yellow Flowers, 24 x 30, #1696. Clusters of flowers are suggested through thick, layered paint and simplified forms. Color and surface structure the composition without botanical detail.
Blue Flowers, 24 x 36, #1703. An abstracted floral composition formed through dense, layered brushwork. Short strokes and repeated marks organize the surface into a rhythmic field of color.
Bouquet on Table, 22 x 30, #1560. A loosely arranged bouquet sits atop a horizontal surface. Clustered marks and layered color suggest flowers through movement and surface variation.
Roses in Pot, 30 x 20, #1653. A clay pot supports a compact grouping of flowers. Intersecting brushstrokes and bold color define both vessel and bouquet through mass and placement.
Sunflowers in Black Vase, 30 x 24, #1855. Bright flowers crown a dark vase, creating strong contrast. Assertive brushwork and clear silhouettes organize the composition.
Vase of White Flowers, 36 x 24, #1573. A tall bouquet rises from a vase, formed through gestural line and layered paint. Structure and softness are balanced through simplified form.
White Flowers on Table, 36 x 24, #1572. A vertical floral arrangement stands on a table. Gentle brushwork and soft color transitions define the forms without precision.
Garage — Figures
Garage Figures present a group of figurative works constructed through simplified shape, layered color, and expressive brushwork. Figures are organized by posture, grouping, and placement rather than detailed description. Across the room, form and surface guide the compositions.
Reflection, 30 x 24, #1722. A seated figure is rendered within a softly defined space. Layered brushwork and muted color describe posture and containment through simplified form.
Lunch in White Dress, 36 x 24, #1401. A seated figure is constructed through deliberate strokes and layered paint. Contrast between figure and ground structures the composition.
Morning Sun, 30 x 20, #1460. A seated figure appears through gentle brushwork and soft tonal shifts. Placement and posture are defined through simplified form.
Strolling Park Avenue, 28 x 22, #1469. Two figures move through a loosely suggested outdoor setting. Simplified shapes and soft brushwork organize the composition through motion and spacing.
Strolling Bazaar, 30 x 24, #1471. Figures move through an outdoor event at Lake Lily in Maitland, Florida. Grouping and directional flow are suggested through loose brushwork and simplified forms.
Debutantes, 40 x 30, #1658. A small group of women is formed through expressive line and sketch-like brushwork. Shared scale and proximity organize the grouping while individual forms remain distinct.
Strum, 30 x 24, #1479. A musician playing a guitar is rendered through rhythmic brushwork and simplified shape. Figure and instrument merge through gesture.
Guitarist, 36 x 24, #1480. A guitar player is formed through layered color and expressive line. Simplified structure defines the figure through gesture.
Tom Tom, 36 x 24, #1481. A figure and drum are shaped into a compact form through bold brushwork. Placement and gesture organize the composition.
Girl in White, 30 x 30, #1482. A woman at rest is rendered with loose, gentle brushwork. Simplified form and restrained color define posture and placement.
Garage — Portable Walls and Landing
This group of nine paintings highlights Clark’s use of bold contour, flattened form, and organized structure across still life, landscape, figurative, and abstract subjects. Interlocking shapes and areas of flat color define each composition, emphasizing surface, balance, and spatial organization.
Two additional abstract works expand this focus through layered gesture and repeated line. Intersecting marks and visible brushwork introduce a more open, process-driven surface while maintaining a strong underlying structure.
Sunrise, 30 x 24, #1873. A landscape built from simplified, interlocking shapes defined by bold contour lines. A rising sun sits low against angular forms suggesting hills and sky. Large areas of flat color and strong outlines reduce the scene to essential elements, emphasizing structure and design over detail.
Wine and Roses, 30 x 20, #1552. A still life composed of roses, a bottle, and a glass arranged on a tabletop. Bold black contour lines enclose faceted, geometric shapes, flattening space and unifying the objects. The forms are simplified and constructed through intersecting planes of color, integrating each element into a cohesive composition.
Four Roses, 30 x 24, #1860. A floral composition structured through repeated rose forms arranged across the surface. Thick outlines define each shape, while flattened areas of color and patterned background marks create a rhythmic, decorative arrangement. The flowers are simplified into geometric petals and triangular leaves.
Two for Wine, 40 x 30, #1861. A still life featuring a bottle and two glasses constructed from angular, interlocking planes. Heavy contour lines define the forms, while flat color areas emphasize shape over realism. The composition highlights balance between vertical and curved elements within a compressed space.
Nature Morte, 30 x 24, #1872. A still life arrangement of flowers in a vessel placed on a tabletop. The forms are simplified and outlined with strong black contours, with flattened shapes defining petals, leaves, and surrounding space. The composition integrates object and background through shared structure and color.
Perplexed, 30 x 24, #1869. A representational yet unconventional figurative composition constructed from bold contour lines and flattened shapes. The figure is built from interlocking geometric forms that create a mosaic-like surface. Simplified planes of color unify the composition, emphasizing structure and design.
Going in Circles, 30 x 40, #1303. An abstract painting built from layered, looping brushwork and intersecting arcs. Sweeping gestures overlap in varied thicknesses, creating a dense surface of movement and repetition. Drips and exposed marks emphasize the physical process of paint on canvas.
Scattered, 36 x 36, #1750. An abstract composition structured through energetic, crisscrossing lines and layered color. Angular strokes and curved marks intersect across the surface, creating a dynamic network of forms. Areas of opacity and transparency reveal multiple passes of paint.
Junction, 36 x 36, #1866. An abstract work defined by thick, black contour lines enclosing rounded and irregular shapes. Muted fields of color fill each form, creating a balanced arrangement across the surface. The composition relies on line and shape to establish structure and visual rhythm.
Arrived, 30 x 24, #1868. A representational yet unconventional figurative painting combining figure and still life. Bold contour lines and flattened shapes define the composition, unifying the elements through a shared visual structure. Figure and still life are integrated through shared form, line, and color.
Labyrinth, 30 x 30, #1867. An abstract painting composed of repeated, irregular shapes outlined in bold black lines. Variations of white, gray, and neutral tones create subtle shifts within each enclosed form. The surface is organized through repetition and pattern, forming an all-over composition.