Water ghostwrites my painting. It erodes and transplants; it pools and it dries away. It conspires with pigment and ground to carve and compose stories stacked with resonant harmonies. I’m a participant in these pieces, pivoting with the unpredictable nature of fluid paint, gazing at the material flux.
Greg Minah grew up in Columbia, Maryland and graduated from the University of Maryland at College Park with degrees in English Literature and Studio Art. Minah has been honored as a finalist in both the Bethesda Painting Awards and the Trawick Prize. He received the top Individual Artist Award Grant for painting from Maryland State Arts Council and was selected to exhibit at the US Embassy in Guatemala as part of the Art in Embassies Program. Minah's paintings have been included in group and solo exhibitions throughout the United States and can be found in public and private collections internationally. Minah currently lives and works in Baltimore, MD.
BA, English Literature and Studio Art, University of Maryland, College Park, MD
NY/NA, Long View Gallery, Washington, DC
New Material, Cross Mackenzie Gallery, Washington, DC
Desire Lines, Sothebys Roland Park Gallery, Baltimore, MD (solo)
Recollection, Black Rock Center for the Arts, Germantown, MD
Wash: New Paintings by Greg Minah, Visarts, Rockville, MD (solo)
Korean International Art Fair, Galerie Bruno Massa, Seoul
Strictly Painting, McLean Project for the Arts, McLean, VA
Memory Like Light, Artscape Festival, Baltimore, MD
Art Basel Group Exhibition, Etra Fine Art, Miami, FL
Shifting Ground: Selected Paintings 2008-2014, Goucher College, Towson, MD (solo)
Greg Minah On Top, World Trade Building Gallery, Baltimore, MD (solo)
Biennial Maryland Regional Juried Exhibition, UMUC Arts Center, Adelphi, MD
Slow Dance with the Concept of Infinity, The Adam Lister Gallery, Fairfax, VA
Sondheim Exhibition, The Windup Space, Baltimore, MD
Union By Design, The Art Registry Group, Washington, DC
Recent Paintings, Gallery Plan B, Washington, DC
Web of Artists, Thomas Deans Gallery, Atlanta, GA
A Vision That Smells of Soap, Gallaudet University, Washington, DC
Magically Suspicious, School 33 Art Center, Baltimore, MD
Intertwined Expressions, Howard County Center for the Arts, Ellicott City, MD
Strictly Painting, McLean Project for the Arts, McLean, VA
Minah, Tokyo, Wapinski, Gallery Plan B, Washington, DC
3Dx2D Square, Cafritz Foundation Arts Center, Silver Spring, MD
Otherwise Unseen, Windup Space, Baltimore, MD
Imagine, University of Minnesota, St. Paul, MN
Greg Minah: Recent Work, Heurich Gallery, Washington, DC (solo)
Five, Gallery Neptune, Bethesda, MD
Baker Artist Awards Exhibition, Windup Space, Baltimore, MD
Minah, Arkin, Goldberg, BlackRock Center for the Arts, Germantown, MD
Where it Belongs, John Fonda Gallery, Baltimore, MD (solo)
a/chroma/scape/s, AXD Gallery, Philadelphia, PA
Trawick Prize Exhibition, Fraser Gallery, Bethesda, MD
Bethesda Painting Awards Exhibition, Fraser Gallery, Bethesda, MD
Line Forms Here, Gallery Plan B, Washington, DC
Cregger, Drymon, Minah, Gallery Neptune, Bethesda, MD (three person)
Different Kinds: New Paintings by Greg Minah, John Fonda Gallery, Baltimore, MD (solo)
Greg Minah: Recent Work, Red Door Gallery, Richmond, VA (solo)
Sunstorm, Fusion Gallery, Collingswood, NJ (solo)
JTHAR 8 of 08, Studio 62 Gallery, Yucca Valley, CA
Distortions, Fusion Gallery, Collingswood, NJ (solo)
HONORS, RESIDENCIES, LECTURES
Individual Artist Fellowship, Joshua Tree Highlands Artist Residency, Joshua Tree, CA
Tunnel Vision, permanent public installation in the Washington DC Metro, Bethesda, MD
Art in Embassies Program, selected to exhibit at the U.S. Embassy in Guatemala City, Guatemala
Art Walls Project, permanent public installation, Arlington, VA
Lecture: "Greg Minah, Painting | Process," Cafritz Foundation Arts Center at Montgomery College, Silver Spring, MD
Individual Artist Award, Maryland State Arts Council
Trawick Prize Finalist, Bethesda, MD
Bethesda Painting Awards Finalist, Bethesda, MD
Joshua Tree Highlands Artist Residency, Joshua Tree, CA
Colonel Wharton Award for Painting, University of Maryland, College Park, MD
“Minah pours pigment and, while it’s still liquid, spins the canvas to cause gestures that flow and crisscross each other. Sometimes he sprays the surface with water or air, partly removing the paint but leaving ghostly outlines where the edges of the rivulets have dried. These can stand alone or serve as bones to be overpainted with layers of multicolored skin.
The Baltimore artist has undertaken several variations on this strategy. Some of the resulting pictures are pastel and chalky, and others are brighter and more opaque. The most recent work features textures that appear feathery, as though the intricate overlaps were still fluttering. Minah freezes streams of paint, but the sense of motion remains.”
The Washington Post, November 9, 2018
“As Morris Louis brilliantly did a half-century ago, Greg Minah pours acrylic pigment on canvas. But the similarity ends there, as Minah’s show at the VisArts Gibbs Street Gallery demonstrates. The paintings in “Wash” are complexly layered and patterned. Where Louis and his peers employed blank canvas as a crucial compositional element, Minah’s denser pictures often feature white-painted areas that evoke hazy mist or churning surf.
That’s apt, because the Baltimore-based artist’s technique relies on water. Minah drizzles thinned colors on the canvas, then tilts and spins to diffuse them. He subtracts as well as adds, sometimes removing most of a layer of paint with jets of water. The results are complex and fluid, whether they hint at the ocean or, more thickly, streams of lava. Yet the outlines of purged paint create honeycombed lines, often reversed into darker areas. Minah’s lush color-field paintings are also accidental drawings.”
The Washington Post, February 4, 2016
"...Baltimore's Greg Minah is truly talented. His two paintings on view -- in which the artist "draws" by tilting the canvas while still-wet paint trickles this way and that -- infuse the legacy of the Washington Color School with a vigorous, Jackson Pollock-y energy."
The Washington Post, September 11, 2009
"Greg Minah does not directly suggest images of nature in his seven acrylic paintings, but he does seem to be contemplating how natural matter is held together. There are assertively colorful zones in his paintings, but they're irregularly shaped and seemingly arranged haphazardly; however, these distinct forms typically emit webs of delicate lines that skip across the canvas and more or less link up with other forms.
Minah's best painting in the show, "certain truths," has a measure of organizational structure in the arrangement of the colored zones and surrounding weblike lines, but this structure is so loosely defined that there's also a floating quality."
The Baltimore Sun. January 27, 2012
"Of additional note, finalist Greg Minah has two of his abstract drip paintings on view here as well, made by tilting the canvas back and forth as small rivulets of paint flow across the canvas. The works might be best referred to as gravity paintings, producing a network of lines reminiscent of a city street map. The most interesting sections are areas that Minah has rubbed out after the edges of paint flow dried, while the center remained wet, leaving two tracking lines fading towards a blank center strip between them."
Falls Church News Press, September 9, 2009
"Yet, surprisingly, looking across the wall, either Horjus’ or Hance’s painting would have made a credible companion for Greg Minah’s energetic, expressionist painting, with its activated, drippy paint surfaces. There, to my eye, a circular pattern of pale blue paint quivers gently, the essence of a living being or a shape found in nature.
Hoylman has hung Minah’s painting, with all of its elegant references to Abstract Expressionism, beside Adam Estes’ The End and the Beginning ...different as this work is from Minah’s, they may both suggest apocalypse: Estes, more explicitly representing the end of human life as we know it; and Minah, in an explosion of paint, abstractly suggesting the end of a world or a universe."
Doreen Bolger. Charm City Current, March 18, 2010
"All three artists work horizontally on tables that permit them to turn and even spin their supports as they work. That's fundamental to Minah's approach. As he puts it, "experimenting with the application and manipulation of acrylic paint I can control the flow of the medium and ‘draw' by tilting and turning the canvas." The process results in paintings with continuous paths of paint that reflect repetitive movements of this kind. Bouquets of scribbles pile up in layers that are sometimes scraped flat, leaving a kind of echo effect, and sometimes changing tone as they move up the canvas. The sense of dance-like movement or a feeling of music is implied and, in this, there are parallels with Goldberg's aims. Indeed, the feeling of "chaos and order" in the meticulous aspects of the spontaneous process of these two makes them fascinating to see together."
"The layers of looped color in Greg Minah's "Almost Axiomatic" have a charged feeling as if they are climbing up the picture surface. Some layers are scraped, looking like ice shards."
The Gazette, December, 2015
"Minah’s and Wapinski’s works in particular challenge the viewer to understand art as the art development process, rather than the byproduct of certain artistic techniques. Confusing? Allow me to an offer an example. Imagine a blank canvas in front of you. You have a bottle of red acrylic paint. You pour some paint in the center of the canvas, but find yourself at a critical decision point: do you tilt the canvas left or right? A tilt to the left guides and shifts the paint in a way that a tilt to the right would not, ultimately dictating the final product and the way the viewer understands or interacts with the art piece."
Borderstan, April 11, 2011
"Baltimore, Maryland’s Greg Minah is an abstract painter who has created his own unique process of painting. He pours thinned out acrylic paint on a flat canvas and then spins and tilts the canvas to manipulate the flow of the paint. He adds layer upon layer in this same manner and often times removes the layer partially with pressurized water, usually leaving an outline behind. Each layer is a series of decisions as to what color to add next, where to pour it and how to guide the paint. The controlled chaos of the many layers of looped colors, shapes and lines make these paintings intriguing."
Design Milk, November 7, 2011
“Greg’s painting is modern and exciting. One can imagine hanging his work in a space intended for socializing and active people. At an art show like Artomatic, work is hung close together as space is a premium. In this instance, the Minah paintings cluster in a way that one may not usually see them. You know what? It works. Acquire several of these unique pieces and hang them on adjacent walls and see how they interact. If they could speak, they may well be having a conversation.”
The Examiner, May 24, 2012
“Greg Minah's large acrylic abstracts, with their engaging bursts of almost DayGlo colors, have a funky energy.”
The Baltimore Sun, August, 2012