Selected works by Barnaby Furnas

Barnaby Furnas


Oil on canvas

325 x 193 cm

Barnaby Furnas uses watercolour in a way it was never meant for: rivalling media sensation for the limelight of graphic seduction. Developing his own subversive world of cartoon ultra-violence, bizarrely populated by rock stars and Honest Abe look-a-likes, Furnas uses blood and guts as a means to flirt with abstraction and design. In Duel, two ex-presidents blow each other to shreds, simply for the sake of seeing the beauty of the carnage in slow motion.

Barnaby Furnas
Hamburger Hill


Urethane on linen

182.9 x 304.8cm

Barnaby Furnas’s paintings address contemporary image construction through traditional means. Adhering to painterly convention Furnas mixes his own paint by adding pigment to urethane, a technique that results in radiant finish and pure vibrant colour. Conveying the high-impact dynamism of filmic violence, his canvases merge depicted narrative and formal concern. In pieces such as Hamburger Hill, action is played out in performative brushwork and striated composition: gun powder explosions and gory splatter are represented through simplified gesture, movement is directed through drawn and implied lines. Combining the strategies of cartooning with the decadence of high art, Furnas conceives painting as a media entrenched in historical lineage and constantly expanding to encompass new attitudes of viewing.

Barnaby Furnas
Flood (Red Sea)


330.2 x 762 cm

Reminiscent of Rothko’s vast contemplative fields, Barnaby Furnas’s Flood (Red Sea) draws upon the associations of Abstract Expressionism. Spanning over 7 meters, Flood (Red Sea) construes the transcendental as sheer power. Obliterating the serene blue ‘sky’ with frenzied swipes of red, Furnas presents a landscape as an encompassing plane of colour and texture that literally engulfs the viewer in spectacle. Incorporating biblical reference in the title, Furnas layers his abstraction as allegory, merging painting’s formal and narrative traditions in a tableau of apocalyptic beauty.

Barnaby Furnas
Untitled (Effigy II)


Urethane, spirits on burnt calf skin vellum

71.1 x 45.7 cm

Using his materials to replicate bodily substance, Barnaby Furnas’s Untitled (Effigy II) is executed on the membrane surface of calf-skin vellum. Charred, punctured, and adorned with tattoo-like script, his figure sits as an emblem of torment and catharsis. Adopting the timeless and immortal qualities of portraiture, Furnas exposes the stretcher and canvas to both undermine and appropriate painting’s function as illusion. In revealing the image as a construction, Furnas evokes a sense of occult mysticism. Bringing to mind Wilde’s The Picture of Dorian Gray, or Poe’s The Oval Portrait, Furnas cossets the idea of representation as a black art.

Barnaby Furnas


305 x 231cm

In creating Tapestry, Barnaby Furnas captures the vibrant fluidity characteristic of his oil and watercolour paintings. His complex layered and gestural painting style is uncannily replicated in the premeditation of graphic design. Utilising the historical craft of weaving, Furnas places his rock concert on a par with historical depictions of epic battles and heroic royalty. Violence, chaos and pagan hype become immortalised as decorative patterns. Razor sharp light beams, tie-dyed psychedelia and clamouring mosh-pit lose their threatening edge, traded instead for a more monumental documentation, distanced and glorified through the time-honoured tactility of hand-crafted fabric.


By Hilarie Sheets

A couple of months before receiving his MFA from Columbia in the spring of 2000, Barnaby Furnas ordered a new computer. Like most young painters, he had thought carefully about how best to support himself when he graduated, and he had decided on Web design for a living. But then one of his professors told the collector Estelle Schwartz about him. Schwartz came to his studio, liked his paintings well enough to buy several off the wall, and sent reproductions to a Chelsea art dealer, who came over the following day and signed up Furnas on the spot. Furnas canceled the computer order and began working toward his first solo show, at the Marianne Boesky Gallery, where a second exhibition of his kicked off the fall 2003 season.
Read the entire article Source: ( Furnas By John Reed
Guns blazing, Barnaby Furnas returns for his second solo show at Marianne Boesky, offering, in three dozen works on paper, a spectacle of guts, glory, and an occasional orgy.
In colors that have become archetypes in today's print media, Furnas obsesses (and rightfully so) on issues of political paranoia, personal excess, and a resolute, national impulse to self-destruct. Shady operatives lurk in the tall reeds; they twirl their guns. Bacchanals play out on the world stage; we can hardly differentiate the orgy from the bloodbath. Battle scenes are extravaganzas of Homeric proportions; to die the good death is to be "Blown To Bits." Vanity and violence are the sexual currency of our lives. Rock concerts are convocations of blood cults. We shadowbox, shirtless, on the beach.