RISING (2007) by Michael Whelan
Acryilc on Watercolor board - 36” X 24”
This image came to me while I was working on THE RIVER in 1996. I don’t know why it took me over 10 years to get around to doing this painting!
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Source: michaelwhelan.com
SANCTUARY (2019) by Michael Whelan
SANCTUARY rose from my desire to revisit thematic ground that inspired my first gallery show at Tree’s Place back in 1997. As the orb, a symbol from my PASSAGE series, moves past the architecture of personal realities, we discover what lies beyond our limited perception.
Doorways in my PORTALS paintings represent the idea of shifting from one state of mind to another. We find freedom by moving toward light and space beyond all barriers and confinement.
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SANCTUARY rose from my desire to revisit thematic ground that inspired my first gallery show at Tree’s Place back in 1997. As the orb, a symbol from my PASSAGE series, moves past the architecture of personal realities, we discover what lies beyond our limited perception.
Doorways in my PORTALS paintings represent the idea of shifting from one state of mind to another. We find freedom by moving toward light and space beyond all barriers and confinement.
Source: michaelwhelan.com
Source: michaelwhelan.com
DAWN PORTAL (2006) by Michael Whelan
Acrylic on Panel - 20" x 24"
The woman in this Portals painting is seeking wisdom and meaning beyond the knowledge she can gain from cultural influences, here represented by the statues. Night is passing and she is facing the light squarely, drawing conclusions based on direct personal experience, not the received wisdom of bygone ages.
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Source: michaelwhelan.com
Source: michaelwhelan.com
PASSAGE: THE RED STEP (1988) by Michael Whelan
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Source: michaelwhelan.com
THE SCALE OF ETERNITY (1999) by Michael Whelan
Oil on Gessoboard - 25" x 40"
On close examination the linear form the man is climbing is marked with gradations like a ruler. At the time I painted SCALE, I was thinking a lot about our innate drive to quantify, judge or rate aspects of our collective human experience. We can’t seem to overcome our need to define the best, the prettiest, the most powerful or the biggest.
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Source: michaelwhelan.com
EROSION (1999) by Michael Whelan
Acrylic on Panel - 32" x 40"
The fourth of my End of Nature paintings. The figure is stranded on a pillar of human folly, looking up to a symbol of technology (the lamppost) for her deliverance from the perils signaled by the oncoming storm. Will Science light the way to the future?
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Source: michaelwhelan.com
DOORWAY TO THE WEST by Michael Whelan (2006)
Acrylic on Panel - 12” x 9”
Another search for the light. Creating the illusion of texture in paint, the process of actually painting it, can be an act of meditation. If it were not so, the painting of all those rocks would be torture, especially for someone like me with an impatient nature.
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Source: michaelwhelan.com
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