SANTA MONICA, CA.- William Turner Gallery will present Alex Couwenberg: Highline, featuring the artist’s newest paintings. The exhibition opens with a reception on September 13, 2025, from 5–8 PM and runs through November 8, 2025.

In his latest series, Couwenberg orchestrates an ensemble of color, light, line and texture—each piece a visual improvisation that melds razor‑sharp precision with spontaneous intuition. His multilayered canvases pulsate with pearlescent glimmers and atmospheric gradients, where masking, spray techniques and hand‑scraped striations reference the sleek contours of ship hulls, car fins and coastal vessels. The forms are in restless motion - shifting, sliding, overlapping - one into the next. Light itself becomes a primary collaborator, dancing across surfaces in harmonic counterpoint to geometric forms and interrupted gridlines.

Couwenberg’s work taps into the visual rhythms of Southern California, where headlights and taillights play a noir contrapuntal beat to sunlight skittering across waves or filtering in gentle patterns through window blinds on a summer morning. In fact, Couwenberg likens his process to navigating a city: full of green lights, stop signs, and unexpected turns and views. This interplay between control and spontaneity animates the work, producing compositions that simultaneously convey tension and resolution. The resulting pieces are both formally rigorous and emotionally resonant—vivid reflections of an artist deeply attuned to the aesthetics of movement, light, and the layered complexity of memory and lived experience.

Born and based in Southern California, Couwenberg channels the contradictory dialectics of the region: the soft luminosity of ocean vistas and open sky versus the relentless linearity of urban freeway systems. His method—a reductive and additive layering ritual—recalls an abstract archaeology: excavated textures meet precise hard‑edge forms in a personal vernacular built from cultural signifiers and industrial gestures.

A graduate of Art Center College of Design and Claremont Graduate School, Couwenberg studied with Karl Benjamin, a pivotal figure in defining Southern California’s hard‑edge abstraction. Other influences are deeply woven into Couwenberg’s practice as well, ranging from the Finish Fetish movement—surfboard, custom‑car gloss, resin surfaces created with industrial rigor—to Light & Space’s subtle manipulations of perception.

Couwenberg’s work is represented in numerous museum collections, including the Frederick R. Weisman Museum, the Long Beach Museum of Art, Lancaster Museum of Art & History, Laguna Art Museum, Crocker Art Museum, and the Daum Museum of Art in Missouri. In 2007, he received the Joan Mitchell Foundation Award for painting.