BOON

Edward Alan Gross has developed a bold and graphic language that moves between his paintings and functional wood work. A circle – the most elemental of shapes - is repeated and overlapped in a pattern language of graphic flowers, clouds, bubbles, or air itself.  This recurring motif becomes an expression of life. Like an oversized cell, it commands our attention and invites a cyclical connection between material and subject. Through sculptural evolutions of wood and expressive paintings of forest creatures, Gross crafts work that is arresting, unusual and distinct.

In his paintings, pattern creates the atmosphere and environments housing birds and other wildlife – many times interacting with each other – and always larger than life. There is a thoughtful intimacy and relatability to every subject. His animals are full of personality, and they express powerful emotions like awareness, confidence, and joy.  

In his wood work, the conversation between artist and nature is on full display. Working only with salvaged materials, Gross’ hand-carved pieces are formed intuitively – and remain organic and wild. His signature motif signals a structural but clever repair - contrasting tones and textures of varying wood species to decorative result through placement and repetition. Fallen trees (like a red oak from the front lawn of the VMFA) and abandoned stumps are transformed, respected, renewed. Even walnut dust is mixed with resin to secure hairline cracks. Nothing goes to waste – like nature itself.

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Image 1, 5 & 6: Ironwood pedestal bowl with poplar and walnut inlay, 15.5 x 16 inches

Images 2-4: The Pool, oil on panel, 36 x 48 inches (Sold)

Images 7 & 8: Pocket Full of Starlight, oil on panel, 50 x 18 inches

Images 9-11: Red oak footed bowl with poplar and walnut inlay

Images 12-14: Only, oil on panel, 42 x 18 inches

Images 15-18: Elm footed bowl with poplar and walnut inlay, 19.5 x 8.75 inches

@edward.alan.gross