Continuing a new tradition at the Morean, we present last year’s Margaret Murphy Steward Best of Show winner, Jeanine Newcomb. In addition to a cash prize, the winning artist receives a solo show in our gallery to coincide with the following year’s members show. Jeanine is the tenth artist to receive this opportunity, and we are pleased to showcase her latest narrative paintings during this time.
Jeanine Newcomb is an artist, educator, and athlete living and working in St. Petersburg, Florida. Strongly influenced by drawing (BA USF) and Psychology (MA in emotional disorders), she creates oil paintings exploring figurative narratives.
Skilled in several different mediums and art forms including ceramics, stained glass, and fabric art, Jeanine’s style is influenced by her passion for psychological phenomenon, creative process, and identity. Living in suburban Pennsylvania as a child, Jeanine has held an affinity for nature from an early age. With a background in construction trades, Jeanine has installed decorative tile flooring, created large scale stage props, and worked in the fields of marine construction and roofing. This environment stimulated her visual perception about form, design, and structure. As an art educator and special education facilitator she is dedicated to empowering the marginalized. Teaching advanced placement art has provided a powerful resource helping students process the world around them.
Jeanine’s work has been featured in Artcall.org, NAEA Annual Artist shows, and in exhibitions around the Tampa Bay area. Keen observational skills, sensitivity to her subjects, and an intuitive approach to creativity combine in organic shapes and linear forms to take the viewer on a visual journey.
Jeanine welcomes commissions and can be reached on Instagram at @jeanework or [email protected]
“My paintings are love letters.
“As a figurative oil painter, I am fascinated by the blurred line between the sacred and the mundane, the tension between meaningfulness and meaninglessness. I am interested in relationships, memories and dreams, vulnerability, intimacy,
and fears. I create snapshots of contemporary existence; highly personal yet universally relevant moments steeped with microscopic details that make up our everyday lived experience.
“I make paintings using photos as reference, not to make paintings look like photos. With equal focus on landscape and figure, I invite the viewer to enter into an intimate experience with nature, architecture, and other humans.
“‘Looking Through the Window’ connects autobiographical moments with universal emotions and invites the viewer to enter the private experience of my memories, and hopefully, their own.”