Marin County artist Alex Segal is deeply influenced by two things: the beauty of nature and the sophisticated, moving power of classical music. His work explores the world on the molecular level, capturing the colorful movements and combinations of light that combine to form images of what we call reality. It captures subtle, unseen visual mysteries, which exists among the sterility and grayness of the modern world. In a more realistic style, his portraits, particularly of classical composers, are executed with the same rich color that characterizes their musical compositions.

Segal’s work spans the rainbow of color and vibrates with movement.  It frequently contains human forms or faces of all kinds, in motion, defined, and merely suggested, appearing and disappearing as the viewer shifts focus; it continually provides visions of things not seen before.

A graduate of The Art Center College of Design in Los Angeles, Segal received his MFA from Otis Art Institute. After receiving his MFA, he worked as a classical music reviewer for three major entertainment magazines in Los Angeles. Moving to the Bay Area in 1978, he settled in the wooded community of Fairfax, where he returned to painting full time. He has focused his attention on works on paper, watercolors and pencil drawings, and larger-scale oils on canvas.

Some of his best-known work includes a watercolor portrait of the young Beethoven, which was used for the cover of the Los Angeles Symphony’s Beethoven Bicentennial, and was also reproduced on other magazine covers. The Leslie Sacks Gallery in Brentwood, California has represented his work exclusively for the last decade. He was part of an exhibition in 2014 of Modern Masters, sharing the exhibition with artists who are internationally famous, such as Picasso, Klee, and Matisse.

Lee Spiro, for many years the director of the Leslie Sacks Gallery, and the curator of the Modern Masters exhibition, said of Segal’s watercolors, “He’s better than Emil Nolde,” the great watercolorist of the German Expressionist era.

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Much of my work incorporates letters, numbers, music symbols and math formulas. The Billboard Series consists of 21 mixed media works, each measuring 8" x 10". Each work is an abstract interpretation of how billboards were, and presently are constructed. During the now bygone era, billboard images were created from "dot" patterns silk-screened onto huge sheets of white paper, with a "bleed" edge (overlapping registration). These large sheets were then slap-pasted, using a gloppy wallpaper-type past, directly onto the metal panels that made up the billboard frame, using a 8-10" wide horse hair brush ( or push broom). From the highway, these "dots" fused into recognizable photo-real images, similar to Georges Seurat's Pointillism images. Up close, as you can see in each of my pieces, they appear as simple dot patterns. Periodically, the build up, weather and wind required the metal panels to be scraped clean as "a new slate", so to speak. These tatters were then thrown into dumpsters, where artists like myself would "dumpster dive" to retrieve these discarded tatters.

Today, computer-generated images are printed directly onto huge, weatherproof, "fabric "curtains" that can be as large as the entire face of an eight to ten story tall building. These curtains are then secured into place by using nylon ropes/ cords/cables. In my Billboard Series, the sporadic splotches of white paint, refer to the wallpaper paste, and the string represents the anchoring cables used in today's process.

I collected the tatters from two large dumpsters in 1979, (along with 5 additional trash bags full), and stored them for over 25 years, before sitting down in 2007, and editing them into what you see.