Chase Langford
19
Works
5
Followers
Artist Spotlight
Chase Langford and the Landscapes We Carry
In 2025, Chase Langford completed "Loon Point," a luminous new oil on canvas that signals exactly where this quietly essential American painter stands at the height of his powers. The work carries the hallmarks collectors have come to treasure: layered topographic striations that pulse with geological memory, coastal contours that feel simultaneously observed and invented, and a surface alive with the particular warmth that only decades of rigorous painterly commitment can produce. At sixty five, Langford is not slowing down. He is deepening, clarifying, and arriving at something that feels… Continue reading
Artists in conversation
Amy Sillman
Sillman shares Langford's commitment to layered painting that oscillates between abstraction and figuration, using gestural mark making and psychological color relationships to build surfaces that reward sustained attention.
Cecily Brown
Brown's oil paintings similarly fuse aggressive gestural brushwork with concealed and revealed imagery, creating atmospheric surfaces that balance expressive energy with carefully structured compositional depth.
Terry Winters
Winters shares Langford's interest in layered mixed media surfaces and cartographic or diagrammatic forms that hover between landscape and abstraction, explored through a warm and luminous palette.
Artists who inspired them
Richard Diebenkorn
Diebenkorn's Ocean Park series modeled how color field sensibility and atmospheric light could be embedded within structured geometric compositions, a balance of restraint and expressiveness that resonates throughout Langford's practice.
Helen Frankenthaler
Frankenthaler demonstrated how color could carry emotional and spatial weight through staining and layering techniques, influencing Langford's approach to building luminous surfaces that evoke memory and atmospheric landscape.
Cy Twombly
Twombly's integration of gestural mark making, text fragments, and layered mixed media surfaces established a model for painting as psychological excavation that is clearly echoed in Langford's approach to memory and identity.