Featured Artist of the Month

Damon Pla

    The Peninsula Gallery's Featured Artist of the Month event highlights a different artist each month. The line-up of participants includes some of the gallery resident artists, repeat exhibitors, and artists entirely new to the space. Visit the gallery each month to see the featured artist's special collection and follow our Facebook and Instagram pages to learn behind-the-scenes information about their background and creative process.

Artist Damon Pla

"Autumn Harvest" 43" x 24" image 49" x 30" framed acrylic $3,200

Artist Damon Pla

"Silver Tide" 20" x 50" image 21" x 51" framed acrylic $3,200

Artist Damon Pla

"Solstice" 30" x 30" image 31" x 31" framed acrylic $2,800

Artist Damon Pla

"Fading Light" 30" x 30" image 35" x 35" framed acrylic $2,800 sold

Artist Damon Pla

"Light in Gumboro" 18.5" x 40.5" image 23.5" x 45.5" framed acrylic $2,600 sold

Artist Damon Pla

"The Coalescing" 20" x 20" image 25" x 25" framed acrylic $1,800 sold

    The featured artist for the month of July is the amazingly talented Damon Pla. Born in South Florida, Damon Pla was drawn to express himself through art at an early age. Upon completing various portfolio classes in high school, his advanced drawing and painting skills led him to pursue commercial and private commissions soon after graduation. After a decade of large-scale projects throughout Florida and neighboring regions, the largely self-taught artist moved to Delaware to absorb a different landscape.

“Through ambience, composition, movement, and light, creating art will always be an instrument for me to interpret my perception of our surroundings. To quietly converse with the viewer through my work, provoking thought and meditation, is my passion.”

Today, Damon continues to work full-time creating timeless murals, large paintings, and limited edition reproductions for his collectors. He resides in Dagsboro, DE with his wife Dana and their daughters Maya and Zoey.

Artist Statement

In my paintings, I explore landscapes and surreal compositions to provoke thought and meditation. My artwork consistently exposes my obsession for late afternoon light and the subtlety of both cool and warm ambient spaces.​

Addicted to these nuances, I exaggerate the mood of each painting to isolate the essence of a moment in time. I believe the nature of these observations can immediately create an intimate connection so that the viewer is left only to absorb the energy and take it with them.

I am fascinated by the idea that the viewer can be forced to acknowledge this relationship with a painting. In my surreal works, I attempt to capture this by arranging non-relative objects to create new relationships. Or demonstrate the extensive, labored journey of an object only for it to travel the shortest of distances.

Dreams play a large part of where my ideas originate. I always sketch an image after remembering a dream, not usually for the content, but largely for what it felt like. Documenting this awareness in my painting allows me to shelve such moments as if I experienced them awake to take with me, through my journey.

Process

Before I begin a painting, I research and photograph isolated settings, particularly in the late afternoon light. When the light draws me outdoors, I grab my camera and head out. Through this expedition, I search for compositions that tug at my obsession for this 'glowing light.' I investigate how certain cropped areas of landscape are bathed by this golden glow. Like the way a family of tall trees hold the light just at their top portions, creating a sense of space from the shadow below. Or the rich ambiance of a deep, saturated palette left behind an afternoon rain. 

I start my painting by first attaching an un-stretched canvas to my large, hand-made easel/wall. I am addicted to this procedure because this gives me a solid foundation behind 100% of the canvas. So it will not move or bounce compared to a stretched canvas on a traditional easel. It feels very much like painting a mural on a wall. 

After a rough sketch from my chosen cropped photograph, I begin to block in solid areas with minimal blending. With these subtle blends as my base, I begin to pull out objects with thinned layers of acrylic paint, known as glazing. This technique allows me to control the light throughout my painting, resulting in a luminous glow that is satisfying to my eye and mood.