Yellow Cake Colored pencil on black linen archival paper 14.75" H x 11.5" W "Yellow Cake" by Zachary Schomburg is a colored pencil work on black linen archival paper from his Lost Mornings series. Viewed from above, a yellow layer cake on a pedestal stand occupies the left edge, a slice already cut, while two plated portions sit on a pale blue table in the middle distance and a coffee cup waits at the bottom — the whole scene arranged with the unhurried generosity of a morning that has nowhere to be. The yellow and brown layers of the cake glow against the blue ground, each layer distinct and carefully rendered, and bands of dark green and burgundy close the upper edge like a distant landscape glimpsed through a window. It is the quietest and most domestic of the Lost Mornings works, and perhaps for that reason, the most tender. Read More
Long Road Colored pencil on black linen archival paper 14.75" H x 11.5" W "Long Road" by Zachary Schomburg is a colored pencil work on black linen archival paper from his Lost Mornings series. A broad expanse of deep red-earth fills the lower half of the composition, through which a pale white road winds upward in a loose zigzag before continuing into the dark sky above — where two pink lines rise like bare trees or antennae toward a small white moon. Flanking forms in deep purple and near-black press in from the sides, and tiny fragments of color — green, orange, yellow, magenta — pulse at the very bottom edge like distant lights. The road is the spine of the piece, connecting earth to sky in a single unbroken gesture, and the whole image has the compressed, inevitable logic of a poem. Read More
Blue Cliffs Colored pencil on black linen archival paper 14.75" H x 11.5" W "Blue Cliffs" by Zachary Schomburg is a colored pencil work on black linen archival paper from his Lost Mornings series. Massive dark cliffs dominate the left side of the composition, their faces rendered in deep navy and black with streaks of lighter blue suggesting striated rock, while a thin orange line traces a path along their base — a road, a river, or simply a thread of warmth against the surrounding dark. To the right, a cluster of small color-blocked forms in yellow, green, and teal suggests a village or settlement seen from a great distance, and a small white circle of moon sits in the upper right corner of a dusky mauve sky. It is a nocturnal landscape of scale and quiet drama, the colored pencil building light from darkness in the way the hour itself does. Read More
Blue Cake Colored pencil on black linen archival paper 13" H x 13" W "Blue Cake" by Zachary Schomburg is a colored pencil work on black linen archival paper from his Lost Mornings series — landscapes made on consecutive mornings at the close of 2025, each a study for a potential larger painting. This one departs from the series' outdoor register entirely, turning its attention to a celebration: a blue-frosted layer cake, a slice already removed and plated in the lower left, the interior revealed in warm layered browns and golds. Cherries dot the top, whipped cream rosettes ring the edges, and the whole scene is rendered in the waxy, built-up light that colored pencil on dark paper uniquely produces — each color earned rather than given, glowing against the black ground. It is a still life with the warmth and slight strangeness of a dream remembered over breakfast. Read More
The Rabbit Hour House paint and chalk pastel on raw canvas. 54" H x 41" W "The Rabbit Hour" by Zachary Schomburg works in the same material but in a cooler, more unsettled register — a large diffuse form of smoky blue and teal occupies the upper left, surrounded by a field of grey and taupe through which black marks, drips, and gestural sweeps move with restless energy. Small bursts of terracotta, yellow, and pink surface through the grey like things glimpsed briefly before disappearing, and the lower portion of the canvas dissolves into a scatter of marks and pale pooled forms that resist any single reading. The title suggests the liminal — the hour between dark and dawn when things are not quite what they seem — and the painting earns it completely, existing in a space between form and atmosphere that feels genuinely alive with uncertainty. Read More
The Lost Hour House paint and chalk pastel on raw canvas. 54" H x 41" W "The Lost Hour" by Zachary Schomburg is a richly layered work in house paint on raw canvas — the paint soaking into the unprimed surface in a way that softens edges and diffuses color into something closer to weather than image. A luminous central mass of pale green, yellow, and blush rises from a dark, fragmented lower register of black, teal, and scattered marks, the whole composition suggesting a landscape glimpsed through failing light or the residue of a dream that hasn't quite dissolved. It is Schomburg at his most intuitive — the poet's instinct for the image that arrives just beyond articulation, held in paint and the particular absorbency of unprimed canvas. Read More
Two Women on the Shore No. 15 House paint and chalk pastel on raw canvas. 15" H x 54" W Two Women on the Shore is a captivating new collection by Zachary Schomburg that reimagines Edvard Munch’s 1895 block print of the same name through a contemporary, expressive lens. Working in large-scale abstraction on raw canvas, Schomburg draws inspiration from the eight evocative colors in Munch’s original, using them as emotional anchors for his own visual language. Each piece unfolds through bold gestures and atmospheric shifts, offering a meditation on memory, presence, and the space between figures. Schomburg’s compositions blur the lines between subject and setting—where the essence of two women on a shoreline becomes a broader exploration of companionship, longing, and the slow pull of time. Rendered with a painterly sensitivity and a cinematic sense of stillness, this body of work invites viewers to experience both the echoes of Munch’s legacy and the immediacy of Schomburger’s vision. We invite you to see this striking collection in person and step into its quiet, resonant world. Read More
Two Women on the Shore No. 14 House paint and chalk pastel on raw canvas. 53" H x 31" W "Two Women on the Shore No. 14" by Zachary Schomburg arranges six vertical bands of house paint — orange, pink, black, yellow, and blue, flanked by green — across the upper three-quarters of raw canvas, their edges slightly irregular where the paint has soaked into the unprimed surface. The lower quarter is left as bare canvas, a cream ground that functions as shoreline, horizon, or simply breath — a pause before the color begins. The palette is bold and declarative, the composition utterly direct, and the raw canvas below gives the whole piece an openness that keeps it from feeling finished in the conventional sense, as though the paint arrived and the shore received it. Two Women on the Shore is a captivating new collection by Zachary Schomburg that reimagines Edvard Munch’s 1895 block print of the same name through a contemporary, expressive lens. Working in large-scale abstraction on raw canvas, Schomburg draws inspiration from the eight evocative colors in Munch’s original, using them as emotional anchors for his own visual language. Each piece unfolds through bold gestures and atmospheric shifts, offering a meditation on memory, presence, and the space between figures. Schomburg’s compositions blur the lines between subject and setting—where the essence of two women on a shoreline becomes a broader exploration of companionship, longing, and the slow pull of time. Rendered with a painterly sensitivity and a cinematic sense of stillness, this body of work invites viewers to experience both the echoes of Munch’s legacy and the immediacy of Schomburger’s vision. We invite you to see this striking collection in person and step into its quiet, resonant world. Read More
Two Women on the Shore No. 13 House paint and chalk pastel on raw canvas. 53" H x 69" W "Two Women on the Shore No. 13" by Zachary Schomburg is the largest and most kinetic work in the series — a wide horizontal canvas across which two groups of diagonal stripes converge from the upper left and upper right, meeting and interweaving near the center in a collision of pink, green, blue, black, yellow, orange, and cream. The stripes lean into each other with the energy of something in motion — flags in wind, figures in stride, light refracting — and the raw canvas ground shows through between them, its warmth holding the whole composition together. At this scale the painting becomes almost environmental, the color filling peripheral vision and the diagonal thrust giving it a propulsive, joyful momentum. Two Women on the Shore is a captivating new collection by Zachary Schomburg that reimagines Edvard Munch’s 1895 block print of the same name through a contemporary, expressive lens. Working in large-scale abstraction on raw canvas, Schomburg draws inspiration from the eight evocative colors in Munch’s original, using them as emotional anchors for his own visual language. Each piece unfolds through bold gestures and atmospheric shifts, offering a meditation on memory, presence, and the space between figures. Schomburg’s compositions blur the lines between subject and setting—where the essence of two women on a shoreline becomes a broader exploration of companionship, longing, and the slow pull of time. Rendered with a painterly sensitivity and a cinematic sense of stillness, this body of work invites viewers to experience both the echoes of Munch’s legacy and the immediacy of Schomburger’s vision. We invite you to see this striking collection in person and step into its quiet, resonant world. Read More
Two Women on the Shore No. 12 House paint and chalk pastel on raw canvas. 54" H x 30" W "Two Women on the Shore No. 12" by Zachary Schomburg is the most elemental work in the series — a tall, narrow canvas on which a single terracotta circle sits in the upper half against a pale, chalky ground, and a thin band of teal blue runs along the very bottom edge. Sun and sea, reduced to their essentials. The house paint soaks into the unprimed canvas so that the circle has a warm, matte presence rather than a painted surface, and the generous empty field between the circle and the water line holds a quality of suspended time — the moment before the sun touches the horizon, held still. Two Women on the Shore is a captivating new collection by Zachary Schomburg that reimagines Edvard Munch’s 1895 block print of the same name through a contemporary, expressive lens. Working in large-scale abstraction on raw canvas, Schomburg draws inspiration from the eight evocative colors in Munch’s original, using them as emotional anchors for his own visual language. Each piece unfolds through bold gestures and atmospheric shifts, offering a meditation on memory, presence, and the space between figures. Schomburg’s compositions blur the lines between subject and setting—where the essence of two women on a shoreline becomes a broader exploration of companionship, longing, and the slow pull of time. Rendered with a painterly sensitivity and a cinematic sense of stillness, this body of work invites viewers to experience both the echoes of Munch’s legacy and the immediacy of Schomburger’s vision. We invite you to see this striking collection in person and step into its quiet, resonant world. Read More
Two Women on the Shore No. 10 House paint and chalk pastel on raw canvas. 53" H x 51" W "Two Women on the Shore No. 10" by Zachary Schomburg divides the canvas between two distinct compositional logics — vertical stripes of blue, yellow, green, cream, terracotta, black, pink, and gold filling the upper two-thirds in a stately, parallel arrangement, while the lower third pivots to diagonal stripes of the same colors running in the opposite direction, as though the floor of the composition has shifted beneath the standing forms above. The effect is architectural and slightly vertiginous, the two stripe systems meeting in a horizontal seam that reads as a threshold — ground and sky, land and water, the place where two things meet and briefly hold. Two Women on the Shore is a captivating new collection by Zachary Schomburg that reimagines Edvard Munch’s 1895 block print of the same name through a contemporary, expressive lens. Working in large-scale abstraction on raw canvas, Schomburg draws inspiration from the eight evocative colors in Munch’s original, using them as emotional anchors for his own visual language. Each piece unfolds through bold gestures and atmospheric shifts, offering a meditation on memory, presence, and the space between figures. Schomburg’s compositions blur the lines between subject and setting—where the essence of two women on a shoreline becomes a broader exploration of companionship, longing, and the slow pull of time. Rendered with a painterly sensitivity and a cinematic sense of stillness, this body of work invites viewers to experience both the echoes of Munch’s legacy and the immediacy of Schomburger’s vision. We invite you to see this striking collection in person and step into its quiet, resonant world. Read More
Two Women on the Shore No. 8B House paint and chalk pastel on raw canvas. 51" H x 51" W "Two Women on the Shore No. 8B" by Zachary Schomburg sends its stripes diagonally from the upper left, a group of parallel bands in green, terracotta, yellow, black, and blue sweeping across the canvas before splitting — the left-hand group continuing off the lower edge while a narrower group of pink, green, and a flash of terracotta veers right, opening a wide field of bare canvas in the upper right corner. The composition feels mid-gesture, caught between convergence and departure, and the raw canvas allowed to breathe in the corner gives the piece its particular lightness — color moving through space rather than filling it. Two Women on the Shore is a captivating new collection by Zachary Schomburg that reimagines Edvard Munch’s 1895 block print of the same name through a contemporary, expressive lens. Working in large-scale abstraction on raw canvas, Schomburg draws inspiration from the eight evocative colors in Munch’s original, using them as emotional anchors for his own visual language. Each piece unfolds through bold gestures and atmospheric shifts, offering a meditation on memory, presence, and the space between figures. Schomburg’s compositions blur the lines between subject and setting—where the essence of two women on a shoreline becomes a broader exploration of companionship, longing, and the slow pull of time. Rendered with a painterly sensitivity and a cinematic sense of stillness, this body of work invites viewers to experience both the echoes of Munch’s legacy and the immediacy of Schomburger’s vision. We invite you to see this striking collection in person and step into its quiet, resonant world. Read More