Peyton Dollar- Forgotten Landscapes

Peyton Dollar- Forgotten Landscapes

Date: December 11, 2025

Time: 6:00pm- 9:00pm

Location: Main Street Gallery

Address: 625 Main Street Nashville, TN 37206

Parking: Entry to venue is at rear of Bricks 625 Main Street. Parking is available on 7th Street, in rear lot or in Center 615 Main’s parking lot on the west side of building.

Attendance and Entry: Guests are encouraged to come at any point between the 6-9p window. This allows for less congestion as soon as doors open.

Description: “The beginning of 2025 ushered in a massive wave of ideas and personal revelation that I had never really thought of before,” says the 24 year old Peyton Dollar. After nearly eight years of working as a photographer, the Tennessee native suddenly had other plans for his creative path going forward. It wasn’t that he was burnt out from the camera or had run out of creative ambition, as it was just six months prior that he began experimenting with analog photography and alternative image processing in the darkroom. It would be, however, the chemical process and physicality of analog that would inspire him to put the camera down and embrace the unconstrained world of the canvas and paint.

This experiment in medium started out as just that— exploratory, until it suddenly wasn’t. Peyton’s first few works can be best described as studies on how to put paint on the canvas. His earliest influence can be traced back to 20th century expressionist Cy Twombly and his monumental canvases filled with chaotic scribbles and paint splatters. What looked like a child’s notebook to some, was actually a set of instructions for Peyton’s artistic development moving forward. His first felt creative success would happen 3 months later in March with, “Flowers for Barb,” a 96x78in. gestural work devoted to his late grandmother. It was this work that would inspire him to reevaluate his concept of the image and relationship to the 35mm frame.

In the seasons that followed, Peyton's practice evolved dramatically. His subsequent paintings represent a complete transformation, merging his early fascination with postwar abstraction and his newfound engagement with the traditional Flemish technique. The result is a body of work that feels entirely its own: vast in scale, immersive in surface, and emotionally charged in atmosphere. His leaps in technical and conceptual skill make it clear the pieces operate on an altogether different wavelength than their predecessors. Collectively spanning almost thirty feet, these works reflect not only the intensity of his output but also his pursuit of total sensory and psychological immersion.

While the materials and scope of this new chapter speak to Peyton’s expanding vision as a painter, his foundation in photography and lifelong relationship to the still image continues to inform his sense of composition, structure, and perception across mediums. Refusing to stay where he’s comfortable, Peyton embodies a practice built on transformation. Forgotten Landscapes stands as the culmination of this evolution in being a testament to memory, perception, and desire to remake the visible world anew.

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