Arcadia Fine Arts was founded in 1998 with the goal of creating a showcase for contemporary, representational artwork.
The gallery is internationally known for presenting acclaimed and distinguished painters including Malcolm T. Liepke, Jeremy Lipking, Ron Hicks, Daniel Sprick and many others. In addition to featuring established painters, the gallery takes great pride in providing a launching pad for younger, emerging artists who are poised to become tomorrow's masters.
The gallery is open seven days a week and is also a prominent exhibitor at many, international art fairs. Our website: www.arcadiacontemporary.com, is frequently updated and includes a full overview of one-person and group exhibitions as well as new arrivals to the gallery's inventory. Please feel free to call or email us if you have any questions regarding any of our artists.
Daniel SprickBiography of the Artist
Oil on panel
20" x 20"
Framed: 28" x 28"
Working slowly, applying layer upon layer of paint to Masonite primed with gesso, the 46-year-old artist has produced paintings about the process of contemplation, the odd associations one makes, and the way one’s inner world may spontaneously ignite as a result of one’s prolonged interaction with a fixed subject. In order to grant himself this inner freedom, all the external aspects of his environment need to be tightly controlled. Only then will structure yield to crystalline vision. In spite of the restrictions Sprick places upon himself and the two months he usually spends on each piece, his paintings do not feel claustrophobic or overworked-far from it. The clusters of objects set right or left of center against expanses of gray-white space have ample room to breathe. There is an ethereal quality to them, a weightlessness. The images hover. Milk cartons carry cryptic messages. Bowls and flowers sit precariously close to the edge of a table. Objects float, as if endowed with supernatural powers. Willing participants of a sorcerer’s magic, they playfully call to mind the role of artist as master illusionist. Part of the seductive power of Sprick’s work is that comprehension of it remains just beyond one’s grasp. Objects appear familiar and, at first glance, hyperreal. Upon closer examination, one notices that some key attribute has been withheld or altered. Oblique philosophical references appear like codes that stubbornly elude the viewer’s deciphering. Supports tend to be invisible or swathed in sheets or oriental carpets to indicate mass, but what lurks beneath resists easy identification. A sense of mystery emanates, like a perfume one recognizes but cannot name.