“Dahlstrom’s strongest works reveal a clear visual language: bold color fields, geometric structure, and energetic organic movement. This interplay places his paintings in direct conversation with 20th‑century abstraction, particularly artists and movements that explored the tension between order and spontaneity.”
For more than six decades, Jaren Dahlstrom has exhibited paintings and prints in museums, cultural institutions, and galleries throughout the United States, Canada, and Europe. His one‑person exhibitions include Villa Montalvo, the Littman Gallery at the University of Portland, Fusion Art, and the Sierra Arts Foundation. His work has also appeared in major group exhibitions at the Oakland Museum of California, the Palo Verde Art Center, and the Contemporary Museum of Modern Art in Vienna, Austria, along with numerous group exhibitions, his work is in private and public collections in the US and internationally, including work owned by the late writer, Anaïs Nin, which was featured at her memorial exhibition at UCLA. This site presents a curated selection of paintings, prints, and exhibition history from a career recognized by collectors, curators, and fellow artists across North America and Europe.
Lindsay Dirk Brown Gallery, A Solo Exhibition
This installation view from the Lindsay Dirk Brown Gallery captures the scale, presence, and physicality of my work in a formal exhibition setting. The show brought together key paintings and prints from multiple series, emphasizing the evolution of Jaren's practice and the continuity of his visual themes.
The paintings and prints presented here are the work of Jaren Dahlstrom, an artist with numerous solo and group exhibitions whose work has been shown nationally and internationally. He is recognized for a distinctive visual language he calls abstract reality—a body of work developed over more than two decades. However, his first solo exhibition was at the Villa Montalvo Art Center in 1974; his work spans six decades.
These paintings explore how reflections fracture, distort, and reassemble the visible world. Surreal, prism‑like structures of light create unexpected contrasts, intense color relationships, and shifting lines that feel both familiar and newly transformed. Many works begin with photographs of reflective surfaces, which Jaren digitally manipulates—sometimes generating twenty or more variations—before arriving at the image that becomes the basis for the final painting.
In recent years, he has introduced geometric forms into these fractured‑light compositions, creating a dynamic tension between organic distortion and precise structure. The result is a visual experience that is analytical, intuitive, and quietly dreamlike.
Jaren’s work has been exhibited across the United States and in Europe, and is included in private and corporate collections, including the late writer Anaïs Nin, the permanent collection of the American Folk Art Museum in New York City.