Working within two seemingly dissonant styles, Tyler’s recent paintings are connected by their highly tactile, rich impasto brushwork and an astute consideration of deep space.

Acidic palettes reference the colors from the artist’s early life in the tropical landscapes of Hawaii.

A smooth, brightly-hued border painted around the edges serves as a kind of frame, or underline to the painting’s interior.

Tyler’s gestural abstractions are open-ended: one can see earthly landscapes, still life arrangements, and the cosmos within their structure.

A variety of expressive marks rendered in impasto oil paint seem to float on a different plane, either imploding or exploding in their space: a bouquet of forms and lines coming together or bursting apart.

Tyler’s geometric paintings are highly structured, yet sensuous and tactile, with expressively applied oil paint. The paintings possess something immaterial: colors seem as though they could break through the boundaries imposed by their forms.

Both of Tyler’s painting series invite a playful dialogue with several dueling moments from the history of painterly abstraction: Minimalism, Concrete Art, and Expressionism. Through extended looking, each work
reveals its sensitively rendered structure and gestural exuberance.