A voracious observer, painter Marcus Leslie Singleton is part documentarian, part humanist romantic. His scenes of everyday life are a way of elevating stories of his community and of chronicling and interpreting his own experience as a queer Black man.
Self-taught, Singleton paints in a flattened, graphic, almost illustrational style, typically on wood panels, using expressive brushwork and variations in color that give his subjects emotional, psychic resonance. “I like to think about the mood of an object rather than how the object looks in reality,” says the artist, whose paintings can invite a range of readings with “different aspects people can connect to,” as he puts it.
Influences: Singleton owes an unmistakable debt to figurative modernist Jacob Lawrence, who spent the latter part of his career in Singleton’s hometown of Seattle. “My first time going to the Seattle Art Museum, they had his ‘Migration’ series, and that kind of visual dialogue was superspecial,” says Singleton, who now lives in New York’s Hudson Valley. “I had never thought about Black artists before, but when I found out about his life and work, I was just like, Okay, yeah, this is what I want to do. ”
Through February, the Journal Gallery in Los Angeles will be showing works related to a residency Singleton did in Ivory Coast. The Contemporary Arts Center in Cincinnati will present his first solo museum exhibition, opening in June, featuring a dozen new pieces as well as a selection of earlier examples connected to the theme of interior spaces.
© 2025. All content on this blog is protected by international copyright laws All images are copyrighted © by Marcus Leslie Singleton or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only

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| Marcus Singleton |
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| West 4th, 2024 |
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| Le Paysage 14, 2024 |
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| Joy Was In Their Hearts And Upon Their Eyelids, 2024 |
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| Adibijan Flower Shop, 2024 |
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| Yellow Night, 2023 |
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| The Humming of the Earth, 2023 |
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| The Composer, 2023 |
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| Shea Butter Babies, 2023 |
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| Razor, 2023 |
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| Newports, 2023 |
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| Man’s Soul Turning into a Rock, 2023 |
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| Flying, 2023 |
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| Elilliyoun, 2023 |
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| Dee Dee, 2023 |
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| BBQ, 2023 |
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| A Rainy Weekend, 2023 |
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| The Writer, 2022 |
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| The Poet, 2022 |
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| Old Record, 2022 |
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| Oil Change, 2022 |
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| Bullet, 2022 |
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There Will Never Be Another Time Like This One/ Taking Things Apart
Putting New Shit Together... Minuet, 2021 |
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| Nah We Bout To Go Eat, 2021 |
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| Love Letter To The Dogon II (Red), 2021 |
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| The Acrobat, 2019 |
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| Tennis 03, 2019 |
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| Guard at the Guggenheim, 2019 |
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| Backyard Grill, 2019 |
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| Getting Ready, 2018 |
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