About

In an era defined by algorithms, infinite revisions, and frictionless perfection, Bil Chamberlin chooses the opposite path. Working where there is no undo, he brings the rigor of a 30-year career in digital design and immersive 3D & Design—shaping brand and visual systems for IBM, Samsung, and NetApp—into direct collision with the raw, irreversible language of paint.

A graduate of Maryland Institute College of Art and a former intern at Walt Disney Feature Animation, Chamberlin has spent decades quietly cultivating a studio practice that dissolves the false boundary between digital precision and painterly intuition. Now based in Colorado, his work reflects a deliberate shift away from screen-based control toward physical risk, material presence, and embodied decision-making.

His large-scale abstractions pulse with layered vitality: bold geometric bands, rhythmic dot systems, and dense color fields—turquoise, lavender, electric pink, and brooding blues—fractured by spontaneous gestures and buried histories. Works such as Rain Over There (48 × 75 in.), Eight (49.5 × 60 in.), and Stockholm 67 (48 × 60 in.) suggest distant storms, coded landscapes, and moments of luminous rupture, hovering between structure and instability.

Running parallel is a current of playful figurative work—Skateboard Elephant, Pink Elephant, Woman on a Bicycle, Princess, Bat Cat, and Dog in a Car—where improbable characters and fleeting scenes inject humor, tenderness, and irreverent joy. These works ground the abstractions in human experience, reminding viewers that wonder often arrives unannounced.

Using recycled “oops” paint and found materials, Chamberlin builds and erases in alchemical layers, burying and unearthing marks until the surface vibrates with memory and time. His process mirrors contemporary life itself: mediated, unstable, and richly layered—yet deeply human.

With originals and prints gaining momentum on Saatchi Art and beyond, Bil Chamberlin emerges as a compelling new voice in contemporary painting. As 2026 approaches, his work stands at the charged intersection of intuition and design—where invention is tactile, risk is visible, and painting feels vividly alive.