“Glynn’s bold paintings are vibrant fields of color and movement. You sense the artist’s hand in the swirls and layered gestures of paint. His pastels are balanced, energetic compositions that are irresistibly up-lifting.”

— Coco Myers

“I see imagery as musical—choreographed to show movement. I choose vibrant colors and use them in combinations that could be considered discordant. In so doing, I hope to jar the viewer out of a conventional manner of looking at color.

When I work within a painted collage format I use a mix of materials, such as aluminum foil and gold, silver and bronze leaf over iridescent and translucent acrylics. My intention is to project an image holding and unfolding itself together in fragments without a clear resolution.

With my pastel series, I employ simple geometric shapes that become part of more intricate patterns that should draw the eye in different ways, thus making their own and unique claim for attention.

My work has evolved into an expressive, pure abstraction as I’ve begun to open up and lose control of the composed parts. These paintings are about freeing myself and creating work that’s like a jazz composi tion—without a simplistic theme or introductory passage. They get into the layering and weaving of surface patterns until they form a unified whole.”

— JG

Jonathan Nash Glynn was born and raised in New Jersey. He gradu ated from the School of Fine Arts at Tufts University and got his MFA at the Cranbrook Academy of Art. He taught painting at the Minneapolis College of Art and Design and ceramics at Montclair State College.

Glynn has exhibited widely across the country. Solo shows include Arthur T. Kalaher Fine Art, Southampton, NY; Pace Collection, Palazetti, Sarah Rentschler Gallery, Littlejohn-Smith Gallery, and Carlyn Gallery, New York, NY; Chrysalis Gallery, Santa Fe, NM; and Carol Getz Gallery, Coral Gables, FL. Group shows include The Watermill Center, Wa termill, NY: folioeast, East Hampton, NY; Miller Gallery, New York, NY; Swan Gallery, Philadelphia, PA; Joan Robey Gallery, Denver, CO; Gal lerie Martin, Boca Raton, FL; Caroline Lee Gallery, Houston, TX; Gas pari Gallery, New Orleans, LA; and the Museum of Fine Arts in Boston, among other exhibits.

Glynn is the founder of Wings Over Haiti, a non-profit dedicated to build ing schools in central Haiti. He lives fulltime in Sag Harbor, NY.

JONATHAN GLYNN

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ARTIST’S CAROUSEL

rotating exhibit of current & recently sold work

Magnetic Series #1: "The Milky way”, 2021, acrylic on canvas, 60” x 80”

Magnetic series #2, 2021, acrylic on canvas, 60” x 80”, SOLD

Magnetic Series #3, 2021, acrylic on canvas, 60” x 96”

Magnetic Series #3 in stu

Magnetic Series #4, 2021, acrylic on canvas and metallic foils, 60” x 80”

Magnetic Series #5, 2021, acrylic on canvas and aluminum, 60” x 80”

Magnetic Series #7, 2021, acrylic on canvas, 60” x 80”

Magnetic Series #8, 2021, acrylic on canvas, 60” x 80

Magnetic Series #9, 2021, acrylic on canvas, 60” x 80”

Magnetic Series #11, 2021, acrylic on canvas, 60” x 80”

Cave Series #6, 2020, acrylic and mixed metal foils on canvas, 40” x 60”, $12,000

Cave Series #7, 2020, acrylic and mixed metal foils on canvas, 40” x 60”, $12,000

Cave Series #8, 2020, acrylic and mixed metal foils on canvas, 40” x 60”, $12,000

Cave Series #3, 2020, acrylic and mixed metal foils on canvas, 40” x 60”, $12,000

Cave Series #4, 2020, acrylic and mixed metal foils on canvas, 40” x 60”, $12,000

Cave Series #5, 2020, acrylic and mixed metal foils on canvas, 40” x 60”, $12,000

Cave Series #9, 2020, acrylic on canvas, 40” x 60”, $12,000

Cave Series #10, 2020, acrylic on canvas, 40” x 60” , $12,000

Untitled #1, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, $1,800

Untitled #2, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, $1,800

Untitled #3, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, $1,800

Untitled #4, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, $1,800

Untitled #5, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in SOLD

Untitled #6, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, $1,800

Untitled #7, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, $1,800

Untitled #8, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, $1,800

Untitled #9, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, $1,800

Untitled #10, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, SOLD

Untitled #11, pastel on cotton arches paper, floating in a wood frame with silver patina, 27 x 34 in, SOLD

Untitled #2, pastel on cotton arches paper, 13 x 8.5 in, $1,200

Untitled #3, pastel on cotton arches paper, 13 x 8.5 in, $1,200

Fruit Loops, 2019, framed pastel on paper, 13 x 8.5 in, $1200

Untitled #2, pastel on cotton arches paper, 13 x 8.5 in, $1,200 SOLD

Reclining, 2019, framed pastel on paper, 27 x 34 in, $1,800

Wired, 2019, pastel on paper, 27 x 34 in, $1,800

Breaking Ground, 2019, framed pastel on paper, 27 x 34 in, $1,800

JONATHAN NASH GLYNN speaks to folioeast’s COCO MYERS

CM/ YOU’VE BEEN WORKING IN ACRYLIC RECENTLY. WHAT IS THE APPEAL FOR YOU?

JG/ Acrylic pours easily, has a variety of translucent and iridescent properties and dries quickly so I can proceed with other layers.

CM/ YOUR PASTELS ARE VERY RICH, THE COLORS SATURATED. HOW DO YOU GET THAT EFFECT?

JG/ I do not use pastels in the traditional way of blending subtly; I use them in a direct attacking mode—strong and bold and spontaneous. I like pastels because they are so immediate and the colors are so luscious. They allow me to work with composition and unusual relationships with color. I often combine pastels with other materials. For instance, by using butchers wax all over the surface and then scraping it away and adding more colors, I got some interesting effects—the pastels look like they’re being layered.

CM/ DO YOU HAVE AN IDEA WHEN YOU START A PIECE HOW IT WILL LOOK WHEN IT’S FINISHED?

JG/ Most of the time my work just unfolds; I don't know how it will end up. My interest is to not know exactly where I’m going when I start working on a piece, and to explore areas that are not typical for me. I’m looking for images and ideas that reflect the mystery of it all while keeping myself interested in what I’m doing. Hopefully others will find pleasure or curiosity in these artworks as well.

CM/ HOW DID YOU END UP LIVING IN SAG HARBOR?

JG/ It started with a summer share in 1995 and then I bought my house and did a gut renovation. When I completely rebuilt the house, from an old 1840s whaler’s cottage that was in complete disrepair, the town allowed me to construct an art studio with 20-plus-foot ceilings—which you can’t do now. I feel lucky to have a spacious studio in my home in Sag Harbor Village. I couldn’t ask for more.

CM/ DO YOU HAVE ANY FAVORITE THINGS TO DO OUT EAST?

JG/ I love to hike and kayak with friends and meet Coco and Arthur for drinks!

PORTFOLIO OVERVIEW