Jeffrey Glossip (b. 1977, Iowa) has exhibited his paintings, drawings, and conceptual work in Europe, England, and throughout the United States. He is most well known for his large scale nonobjective paintings. His work has been exhibited at Berkeley Art Center, Berkeley, California (2006); Gallery Gabrichidze, Brussels, Belgium (2007 and 2008); Revolution Gallery, Dallas, Texas (2007); Mike Bolen Fine Art, Napa, California (2007 and 2008); Marin Museum of Contemporary Art, Marin, California (2009); Arc Gallery and Southern Exposure, San Francisco, California (2007 and 2011); Philadelphia Center for the Book, Philadelphia, Pennsylvania (2012); Trestle Gallery, New York, New York (2012); Punch Gallery, Seattle, Washington (2014); Core Gallery, Denver, Colorado (2016), Bemis Center for the Arts, Seattle, Washington (2017); Gallery 110, Seattle, Washington, and Ryan James Fine Arts, Seattle and Kirkland, Washington (2018-current).

He received a BFA from the University of Iowa in 2002, and an MFA from San Francisco Art Institute in 2005. He also studied painting and critical theory at Lancaster University in the UK. Glossip has taught extensively for Napa Valley College, City College of San Francisco, Reedley College, and Fresno City College. He currently teaches at The Seattle Colleges and Bellevue College.

Glossip regularly donates work for charity auctions. Most recently he has donated work to ROOT Division in San Francisco, California in support of youth outreach programs and to the Leukemia & Lymphoma Society in support of ongoing research.

He has lived in Iowa, Lancaster (England), California, and Washington. He now lives and works in Dallas.

The paintings are self-contained systems. They stand alone as visual machines. Form and color are utilized to fold and open space within and upon the two-dimensional plane. Flatness and directness of painterly application dominate. As such, representational and illusory devices are not employed. Shape is usually prescribed through its purpose in layer or composition. Mechanisms of shape events and interactions are echoed in order to make a cohesive and working system within each work. Paint is applied as a physical and uninflected means to its own end... as a carrier of color and light. Color comes from observations of natural and artificial sources...sometimes pacific, sometimes caustic...often together in concert. Painting-objects are the result of his practice. Each work stands alone as its own vehicle. Everything is considered. But, chance and the unexpected are nurtured. Often, the raw canvas chassis is visible in the paintings, always tying the work to its very physical actual self.  The works are visual event statements.

Glossip’s work rides a fine line. The work builds itself out of competing but complementary ideas of information:

The binary and the quantum.
The hard and the soft.
The precise and the loose.
The digital and the analogue.
The urban and the suburban.

Yet there is also a fluidity of style altering relationships and shifting a purity and singularity of hue and color structure. There is a planned composition and found composition at the same time. And as paint is an ancient technology, it is presented in his work as a reinvented and a evolutionary technology particularly suited to examine these relationships.

 Glossip’s paintings are bold in feeling because they are explicit exhibitions of risk.

cv