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Steve Lyons Crushes It: Abstract Impasto Pops Up on Newbury Street

Blossoms In Spring #2, 18” x 24”


FEATURED EXHIBITION

STEVE LYONS: FALL INTO ART

CRUSH BOUTIQUE

264 NEWBURY STREET

BOSTON, MASSACHUSETTS

NOVEMBER 9 THROUGH DECEMBER 30

STEVE LYONS GALLERY

463 MAIN STREET

CHATHAM, MASSACHUSETTS

By Brian Goslow

It’s been a good year for Chatham sculptural painter Steve Lyons; he received six American Art Awards, including second place in the abstract expressionism category for his acrylic on canvas entitled “Women and the Universe,” and his gallery and studio in Chatham, Mass., has enjoyed a successful season.

This November, his work will be on display at Crush Boutique on Boston’s Newbury Street. The unlikely venue — which offers women’s contemporary fashions — is not as unlikely as you’d think, according to Lyons.

“The whole retail environment as a pop-up art venue has become very popular,” he explained. “It takes art into a new venue. Museums and galleries can be intimidating for people. Putting art in a venue like this makes it more approachable and gives the artist new visibility.”

Lyons pointed out that some of the world’s most famous artists started with pop-up art shows, including Gerhard Richter (with Konrad Lueg in a furniture show- room) and Willem de Kooning and Jackson Pollock at an antique fur- niture store in Manhattan.

The Newbury Street show will focus on two portions of Lyons’ wide portfolio: his abstract paintings con- taining gold, silver and copper metal work and his more abstract impasto paintings (a technique where the paint is laid down in thick layers).

“I’m credited by some as having reinvented impasto sculptured painting. It’s very thick paint. I’ve always been intrigued by impasto artists. It gives you a lot of expression with your brush strokes.

“I started in 2012 and got more daring and realized more and more that I could build up the paint for an image — a wave for example — that resembled real life. We view things three-dimensionally, and it allows me to reflect emotionally to the environment the way the world is seen. For me, it was really pushing the boundar- ies of what a painting could be.”

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