"120618 (Curve)" Painting

David Senecal is an American artist whose work develops a dialogue between geometric form and atmospheric openness. His paintings construct layered spatial fields where disciplined mark‑making, material sediment, and controlled restraint generate a sense of shifting internal geometry—forms that appear, dissolve, and reconfigure within the surface. Senecal graduated from Michigan State University in 1998, then continued his artistic development in Girona, Spain, a region whose deep artistic lineage—from Catalan modernism to the surrealist legacy of nearby Figueres—shaped his sensitivity to structure, material presence, and symbolic undercurrents. Immersion in this environment strengthened the geometric and metaphysical foundations that would later define his work. In the early 2000s, Senecal became one of the notable early contributors to digitalart org, producing digital works that circulated internationally at a time when online digital art communities were still emerging. This early digital practice established the spatial intelligence and layered thinking that later evolved into his analog painting language. During this period, Senecal was personally invited by Austrian artist Otto Rapp—a protégé of Ernst Fuchs, co‑founder of the Vienna School of Fantastic Realism—to join the international Visionary Artists group. While Senecal ultimately diverged from the movement’s ornate figurative tradition, this connection shaped the metaphysical seriousness and subterranean sensibility that continue to inform his work. His influences span structural and atmospheric abstraction—Moshe Kupferman, Julie Mehretu, Zao Wou‑Ki, Jörg Schmeisser, Michiko Hoshino—as well as artists working in deeper visionary or cosmological registers such as Beksinski, Ernst Fuchs, and H.R. Giger. Senecal synthesizes these lineages into a distinct visual language defined by spatial scaffolding, layered surfaces, and a quiet but persistent sense of internal pressure. Working from his studio in the United States, Senecal continues to shape bodies of work that engage the material history of the surface, the physics of layered paint, and the quiet architectures that emerge when structure and openness are held in deliberate tension.