Born in 1978, Greg Minah grew up in Columbia, Maryland, a suburb located between Baltimore and Washington, DC. Minah attended the University of Maryland at College Park and graduated with honors in 2001 with degrees in English Literature and Studio Art. Upon graduating, Minah was awarded a Colonel Wharton Award for outstanding achievement in painting. In 2002, Minah moved to Baltimore and explored the sculptural and conceptual possibilities of painting as a medium by creating a series of cut painting assemblages, installations and videos. This work eventually lead to a renewed enthusiasm for acrylic painting on canvas which is reflected in his current body of work. Recently, Minah was one of nine artists from around the world that took part in the 2008 Joshua Tree Highlands Artist Residency. He followed up the residency with a solo exhibition of recent work at Fusion Gallery in New Jersey, his second solo showing there in 2008. In 2009, Minah’s paintings were included in exhibitions in Washington, DC, Philadelphia, PA, Baltimore, MD, Richmond, VA and Bethesda, MD. Additionally, Minah was honored as a finalist in both the 2009 Bethesda Painting Awards and the 2009 Trawick Prize and received the Juror’s Choice Award from Doreen Bolger, the Director of the Baltimore Museum of Art. In February of 2010, Minah was awarded an Individual Artist Grant from the Maryland State Arts Council. Minah currently lives and works in Baltimore, MD.
“By experimenting with the application and manipulation of acrylic paint I can control the flow of the medium and ‘draw,’ so to speak, by tilting and turning the canvas. This creates an overall harmony and choreography in the composition since each application of paint follows the same path and is affected by the same series of movements. Once the paint is poured, decisions and reactions must be made quickly and in the moment; but then, while the paint is drying, the process slows down and there is time for more thoughtful consideration. Often, a layer is removed before it has a chance to completely cure, revealing the myriad subplots and remnants of abandoned ideas and directions from earlier stages. After adding and removing many of these layers over time, something (a shape, a series of lines, some formal interaction) will emerge, grab my attention and inform the next series of decisions. This method of working might best be described as a collaboration between the spontaneity of liquid paint and the control that I have over its behavior. The result is a lyrical moment, suspended in time, that evolves with closer readings. The significance of the painting, its purpose, is always fluid as it relies entirely on the encounter with the viewer.”