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PRESS CLIPPINGS
 "...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." --O'Sullivan, Michael. "The Trawick Prize: Bethesda Contemporary Art Awards Exhibition," The Washington Post, September 11, 2009 _________________________________________________________________  "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." --Mellema, Kevin. "Northern Virgina Art Beat," 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." --Bolger, Doreen. "Which Bakers Belong Together?" [Weblog Entry.] Art Full Life. 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." --Rousseau, Claudia. "BlackRock exhibits big, bright and lively paintings," Gazette.net. December 15, 2010 _________________________________________________________________  "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." _________________________________________________________________  "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." --Williamson, Caroline. "Greg Minah," Design-milk.com. November 7, 2011_________________________________________________________________  "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." --Giuliano, Mike. "Abstract Exhibit Takes Form at Howard County Arts Council," The Baltimore Sun. January 27, 2012 _________________________________________________________________
--George, James. “Greg Minah, Abstract Painter, Swirling and Splashing at Artomatic, 2012,” The Examiner. May 24, 2012. _________________________________________________________________
“Greg Minah's large acrylic abstracts, with their engaging bursts of almost DayGlo colors, have a funky energy.”
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