This painting moves like a conversation that keeps changing direction. Blues form a loose rhythm, then break, overlap, and start again. Some marks feel deliberate, others accidental, and they all stay visible—nothing gets fully erased. It’s about letting those breaks exist, the stops and starts that shape how things actually unfold.
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The dog itself is simplified, almost awkwardly so, but that’s where the charm lives. The slightly uneven eyes, the solid stance, the calm-but-not-convinced expression—it’s less about realism and more about personality. He feels patient, sturdy, and quietly judgmental (in the best possible way). Mardi Gras balances humor and tenderness. It’s playful without being cute, expressive without trying too hard. Basically, it’s a dog portrait with feelings—and possibly opinions.
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I painted Mid West out of a felt sense of place rather than a specific location. It comes from the experience of moving through wide, open spaces where the horizon stretches and time seems to flatten.
The painting is built through layering and disruption—putting something down, then pushing against it, removing it, or letting it bleed through. That process mirrors how memory works for me: not linear, but accumulated, revised, and partially erased.
The horizontal movement suggests landscape, but I wasn’t trying to describe land. I was interested in the tension between openness and interruption—the way something vast can still feel held or divided. The vertical blue form acts as a kind of pause, a moment where the eye stops and reorients.
This work sits somewhere between structure and intuition. I’m not resolving the image—I’m letting it remain in motion.
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Persistence for a reason. Added layers. Removed layers. Stopped when it stopped arguing back. The vertical marks keep pulling your eye upward, like the painting is quietly insisting on standing tall despite everything stacked against it. Whites break through the blues in stubborn patches, not clean or polite, more like they fought their way to the surface. The darker edges feel like pressure, holding things in, while the lighter center breathes just enough to keep going.
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Pretty Storm is an original abstract painting that brings warmth, movement, and atmosphere into a space. Rich layers of golden yellow, rust, cream, blush, and deep blue create a sense of energy that feels both powerful and inviting. The composition has a storm-like intensity, balanced by softness and light, making it a striking focal piece for a living room, bedroom, office, or creative studio.
This artwork is ideal for collectors and interior design lovers who are drawn to contemporary abstract art with texture, emotion, and a modern earthy palette. The layered brushwork and expressive marks give the painting depth and presence, while the luminous color story keeps it uplifting and visually versatile.
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Purple Haze is a 48 x 36 original acrylic on canvas by Janice. This contemporary abstract painting features layered color, texture, and expressive movement in purple, blue, cream, and orange tones
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Squares is an acrylic on canvas painting by Janice Savage. A geometric abstract painting of brightly colored rectangles—red, yellow, blue, green, and pastel tones—outlined in bold black lines, forming a grid-like, Mondrian-inspired composition.
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Bold, colorful abstract with layered, energetic brushstrokes and thick texture.
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A serene abstract painting in layered blues and soft neutrals, evoking the quiet depth and fluid movement of water. Subtle textures and washes create a calm, atmospheric presence.
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Underwater Peace — My work is an exploration of color, movement, texture, and emotion. Inspired by nature, water, light, and the landscapes that shape our memories, I create abstract paintings that invite personal interpretation and connection. Working primarily with acrylics, I build each piece through layers of paint, intuitive mark-making, and expressive brushwork, allowing the composition to evolve organically.
Rather than depicting a specific scene, I seek to capture a feeling—moments of energy, tranquility, wonder, or reflection. The process is a conversation between spontaneity and intention, where each layer reveals new possibilities and influences the next. Through color and texture, I aim to create visual experiences that encourage viewers to pause, explore, and discover their own meaning within the work.
My paintings reflect a lifelong appreciation for the natural world and the belief that art can communicate emotions that words often cannot. Each piece is an invitation to look beyond representation and engage with the beauty, complexity, and emotion found in abstraction.
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Urban Weather — a textured abstract cityscape exploring movement, architecture, color, and the changing emotional atmosphere of urban life
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Vegetables is a painting that explores how abstract forms behave when placed in close proximity—pressing, overlapping, negotiating space. Color functions as structure rather than decoration, creating a sense of movement and physical presence. The work balances energy and restraint, suggesting growth, interaction, and materiality without literal representation.
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This painting started loud and stayed that way. The color does most of the talking—hot pinks and oranges layered, scraped back, then pushed again until they felt right. There’s no calm center here, just energy moving around itself. It’s about the kind of warmth that doesn’t fade politely—it sticks around longer than expected and makes itself known.
The composition balances openness and density: a glowing yellow field anchors the painting, while darker central forms provide contrast and depth. Areas of white offer moments of pause, like light breaking through foliage. The result is an expressive, nature-inspired abstraction that captures the energy of a garden after rain — vibrant, untamed, and alive.
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