Showing 1–16 of 18 results
An abstract composition dominated by layered blues and whites, evoking water, movement, and atmospheric depth. Broad, gestural strokes collide and dissolve, creating a sense of turbulence giving way to calm. Lighter passages emerge through darker fields, suggesting clarity after intensity
This painting lives in that quiet moment right after things calm down. The storm’s gone, but it hasn’t fully let go—there’s movement in the water, weight in the sky, and traces of what just passed through. Blues push and pull across the surface while softer layers keep everything from settling too neatly. It’s less about a beach you visit and more about the pause that happens when the noise stops and you finally notice what’s left.
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Beach Lights feels like evening settling in. Bright color flashes through layers of blue like reflections skipping across water just as the sun starts to dip. Nothing stays still for long—shapes drift, light breaks, then softens. It’s that moment when the day lets go, the air cools, and everything looks a little better than it did five minutes ago.
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This piece goes all in on blue—layered, pushed around, softened, then pushed again. Some areas feel dense and heavy, others lighter and more open, like places where the water clears just enough to see down a little further. There’s no single focal point on purpose; your eye keeps moving, drifting, settling, then moving again. It’s less about what’s on the surface and more about that quiet pull underneath—the kind you feel before you realize you’ve stopped thinking and just started looking.
Boats and Sails — This painting explores movement, light, and the emotional pull of water. I’m interested in the way color can suggest a place without describing it directly — how a curve of white might become a sail, how a sweep of blue might become sky or sea, and how layered marks can hold the feeling of wind, reflection, and motion.
The work is built through intuition and response. Layers are added, scraped back, softened, and reworked until the surface begins to feel alive. Bright aquas, deep blues, coral, yellow, magenta, and violet create a shifting atmosphere where forms appear and dissolve, much like reflections on water or the fleeting shapes of boats passing through a harbor.
Although the painting is abstract, it carries a strong sense of physical presence. The curved forms suggest sails, currents, and movement through space, while the textured surface gives the piece a weathered, tactile quality. I want the viewer to feel the energy of the scene rather than identify it exactly — to experience color as motion, memory, and atmosphere.
At its heart, this work is about transformation: the way light changes water, the way memory changes place, and the way abstraction allows a painting to remain open while still feeling deeply rooted in experience.
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This piece isn’t about a specific place so much as the feeling of one. Vertical marks hint at buildings, movement, and density, but everything stays loose and slightly out of focus—like a city remembered rather than observed. Layers of soft neutrals are interrupted by darker, sharper lines, suggesting rhythm, noise, and moments of pause. It’s busy without being loud, structured without being rigid—more atmosphere than skyline.
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An energetic abstract painting with layered blues and vivid bursts of color, creating a sense of motion and fluid intensity.
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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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