Altamira Fine Art Scottsdale is pleased to present our first exhibition for California painter Timothy Horn. His work will hang alongside abstract painter David Michael Slonim, in a dual exhibit of works on canvas, opening January 28th.  Both artists will have approximately a dozen new peices in the exhibition.



Please join us for an Artist Reception Thursday, February 7th from 6:30-9pm, during the Gold Palette ArtWalk on Main Street. Both artists will be in attendance and live music and refreshments will accent the evening.


Timothy Horn composes moments of reflection, luminous and layered. Unexpected in context, his view captures spontaneous beauty: the glide of shadows across building facades; the textural meeting of rising moon and setting sun. Such attunement channels his affinity for modern painters like photorealist Robert Bechtle, who confidently included the quotidian in his compositions, and who anchored his perspective in the same place as Horn: the character-rich contours of Northern California.


“I want people to see or notice the poetry in the small moment,” Horn says, “where the faded turquoise paint and the rust and the sparkle on the chrome all come together.”


When people take the time, they see more subtlety in his scenes—a pay-off at once intimate and revelatory. By his skilled hand, the sheen of an Airstream reveals both the richness of the surface and the presence of a person—his person. In a recent turn, he’s painting himself into his work. For years, he took photos of vintage vehicles, personally intrigued yet hesitant to translate them on canvas. Only when he realized upon closer examination that such frames captured several iterations of his own reflection did he decide to explore their affects in paint.


At Altamira, a VW bus fractals his silhouette three times: his cast shadow, and his faint reflections in the door and then again in the hubcap. In such scenarios, the sun becomes his accomplice as he carefully positions himself, rays at his back. As such, these works exude individuality as scenes only he notices. “I’m trying to tap into the core of my being that is different from anybody else’s,” he says. “That’s the case with these close-cropping reflections: they’re experimental and personal. I’m trying to see more of what I find interesting.”



Born and raised in rural Ohio, Timothy Horn migrated to Manhattan to attend the Cooper Union School of Art, where he focused on graphic design. After school, he spent nearly a decade working at design firms before decamping for the West Coast: in the Bay Area, he found his muse in the intensity of light and in the visual variation of his surrounds. Now ensconced in the small town of Fairfax, he focuses on his painting full-time, scouting scenes of weathered contrast in Sonoma and Marin counties—the old buildings that have evaded development, the exposed edges of ranch life, classic cars chugging along country roads, the dimpled curves of antique Airstreams. His 20 years spent as a designer come through in his intuitive approach to composition.