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No Apologies brings together the work of Brett De Palma, Stephen Lewis, and Gary Mayer—three painters whose longstanding dedication to their craft is evident in practices that diverge in subject and style but converge in their unapologetic embrace of painting as a primary mode of expression. In contrast to prevailing trends in contemporary art that foreground political or conceptual frameworks, the works on view assert the vitality of painting on its own terms: imaginative, sensual, and materially driven.
Though each artist engages distinct visual languages, their shared commitment to the physical and expressive possibilities of paint unites the exhibition. Stephen Lewis works with traditional genres—landscape, still life, and the figure—rendered in a luminous palette with a sensitivity to color and light that borders on the ecstatic. Brett De Palma’s canvases, in contrast, pulse with irreverent energy: surreal, improvisational, and boldly composed, they traverse the territory between the absurd and the mythic. Gary Mayer moves fluidly between representation and invention, with lushly painted scenes that shift from evocative landscapes and figures to otherworldly terrains of the imagination.
Together, these works offer a vibrant counterpoint to the often didactic concerns of contemporary art. No Apologies celebrates painting as a sensual, expressive, and autonomous pursuit—unapologetically so.
Stephen Lewis is a painter and printmaker who is work is primarily concerned with art of observation of both the sociopolitical and natural world. In that sense, his work is unique in that it inhabits two distinct genres; naturalism and political art, but the artist sees his practice as incorporating the same principals in the creation of both bodies of work -they are tied together by the artists unique ability to articulate realities that only become obvious thru monastic observation and study.
“The message that American pop culture is polluting the world isn’t anything new. But, Lewis sends it in such an over the top manner that the viewer gets pulled into the imagery. How a person who looks as serene and contemplative as Lewis does in his self-portrait can channel so much anger into his paintings is anyone’s guess. But it isn’t just the anger that makes his work compelling it’s the skill with which he translates it into art”.