partial, segregated truths, (2011), acrylic on canvas, 54 x 54 in
the scaffolding to remain, (2011), acrylic on canvas, 54 x 54 in
as to reality, (2011), acrylic on canvas, 40 x 30 in
thousands of other masters, (2011), acrylic on canvas, 70 x 54 in
certain truths, (2011), acrylic on canvas
effect of mass, (2011), acrylic on canvas, 62 x 42 in
the exact limits, (2011), acrylic on canvas, 62 x 42 in
well recognized, (2011), acrylic on canvas, 40 x 30 in
Born in 1978, Greg Minah grew up in Columbia, Maryland, and attended the University of Maryland at College Park, where he earned degrees in both English literature and studio art. Recently, Minah was one of nine artists from around the world selected to take part in the 2008 Joshua Tree Highlands Artist Residency and was honored as a finalist in both the 2009 Bethesda Painting Awards and the 2009 Trawick Prize. In February 2010, Minah was awarded an Individual Artist Award Grant from the Maryland State Arts Council and received a Governor’s Citation for his contribution to the arts. In 2011, ten of Minah’s recent paintings were selected to be reproduced at high quality and permanently mounted on a public outdoor wall in Arlington, VA. Minah currently lives and works in Baltimore.
Minah’s most recent work might best be described as a collaboration between the artist and the painting. Minah “draws” by pouring acrylic paint onto the canvas and then carefully tilting and turning the stretcher to precisely control the flow of the medium. He creates an overall harmony and choreography in the composition by following the same series of movements, the same path, with each application. The addition and subtraction of these layers over time leave something-a shape, a series of lines, a color relationship-that grabs Minah’s attention and informs his next series of decisions. Eventually the layers work together to complete the narrative of the painting-a story that is composed of myriad subplots and the remnants of abandoned ideas and directions. Minah says that the meaning of the work, like the process, is fluid and relies entirely on the encounter with the viewer.