Brandon-McKenzie-Abstract-Painting-LS-No.-250.jpg
Brandon-McKenzie-Abstract-Painting-LS-No.-250.jpg

LS No. 250

$2,000.00

Brandon McKenzie
LS No. 250, 2025
Acrylic and graphite on canvas
20 × 24 in
Contemporary abstract painting

The Artwork

LS No. 250 introduces a discreet constellation of small light-grey circles into McKenzie’s otherwise dark, layered field. Positioned near the center, the circular forms create a quiet counterpoint to the painting’s more expansive tonal passages. Beneath them, a deeper grey-black section occupies the lower portion of the canvas, grounding the composition with visual weight and a sense of compressed depth.

The circles read less as symbols than as events within the surface—brief points of light, rhythm, or interruption emerging from a process of accumulation. Fine graphite marks move through and around the composition, adding blue-inflected texture and preserving the sense that the painting has been built slowly through action, reaction, and revision.

McKenzie allows order to remain provisional. In LS No. 250, the repeated circular forms introduce a subtle system, but the layered ground resists any purely geometric resolution. The painting finds its energy in that balance: pattern against uncertainty, dark density against small openings of light.

Specifications & Details

  • Artist: Brandon McKenzie

  • Title: LS No. 250

  • Year: 2025

  • Medium: Acrylic and graphite on canvas

  • Dimensions: 20 × 24 in

  • Style: Contemporary abstract painting

  • Frame: Handmade by the artist; included

Brandon McKenzie
LS No. 250, 2025
Acrylic and graphite on canvas
20 × 24 in
Contemporary abstract painting

The Artwork

LS No. 250 introduces a discreet constellation of small light-grey circles into McKenzie’s otherwise dark, layered field. Positioned near the center, the circular forms create a quiet counterpoint to the painting’s more expansive tonal passages. Beneath them, a deeper grey-black section occupies the lower portion of the canvas, grounding the composition with visual weight and a sense of compressed depth.

The circles read less as symbols than as events within the surface—brief points of light, rhythm, or interruption emerging from a process of accumulation. Fine graphite marks move through and around the composition, adding blue-inflected texture and preserving the sense that the painting has been built slowly through action, reaction, and revision.

McKenzie allows order to remain provisional. In LS No. 250, the repeated circular forms introduce a subtle system, but the layered ground resists any purely geometric resolution. The painting finds its energy in that balance: pattern against uncertainty, dark density against small openings of light.

Specifications & Details

  • Artist: Brandon McKenzie

  • Title: LS No. 250

  • Year: 2025

  • Medium: Acrylic and graphite on canvas

  • Dimensions: 20 × 24 in

  • Style: Contemporary abstract painting

  • Frame: Handmade by the artist; included

Biography

Brandon McKenzie is a contemporary abstract painter who creates paintings that investigate rhythm, process, and restraint through pared-down compositions and a largely grayscale palette accented by graphite. Each work develops over time through repeated reworking, with every layer responding to the traces beneath it and reinforcing his belief that process is primary and product is secondary. Rooted in early studies of the geometric farmlands of western Kansas, McKenzie’s current series distills those landscapes into more open, spatial arrangements while preserving the tension between structure, gesture, addition, and erasure. By limiting color and emphasizing light, space, and layered surfaces, his paintings create a quiet balance between disorder and arrangement.

“My paintings evolve through a rhythm of layering and reduction, with each mark shaped by what came before it. The process leads the work forward through repetition, movement, and reaction, while my current series translates the geometry of the rural landscapes into something quieter and more open. I’m interested in how light, space, and essential form emerge from what remains.”

– Brandon McKenzie