Oct. 2020 - "Over the Valley
"The river appears as though the viewer is standing above and looking down on it—through a window, perhaps—which creates an almost illusory experience when gazing up at the 11-story mural from the ground level. It is a painting that insists on a second look; viewers must orient themselves to the world in the painting and then reorient to the world around them, suddenly altered.
This is what art does: restructures quotidian rhythms to create music where once was just traffic, automatic doors swishing open, the sides of buildings."
May 2020, Boise Key Financial Center Mural
Oct–Dec 2019, Coos Art Museum
July 2019, Parade Magazine
Parade Magazine's survey of the best murals in every state (see Idaho):
July 2018, Fowler Mural
May 2018, Coos Art Museum
"The First Place Prize was awarded to David Carmack Lewis of Portland for his oil painting, 'Connection.' "
"Exhibit sparks thoughts on fire, fossil fuels" - East Oregonian
2016, 2014, 2010
featured in Open Studio Magazine #32, 25 & 10
May 2010, Coos Art Museum, Expressions West
First Place award
"Juror Erik Sandgren, an artist and professor in Aberdeen, Wash., elaborated on the selection... 'It turns on a mystery of the ordinary created by contrasts of light and color of the large central form that blocks our distant vision. The horizon on either side is lost in darkness and shifted upward with a mysterious band of lights. It seems to implicate the viewer in a kind of search.' "
Read more here
Portland Mercury, April 2010
"His paintings fall somewhere between a horror movie backdrop and Vincent Van Gogh, playing with light on starry, shadowy nights."
A featured artist on Artdoxa.com
October 23, 2009
Featured on Vivianite Artists Portal: Vivianite.net
Featured on Paintblog.ca October 5, 2009
One of my favourite things about night scenes is the opportunity they present to play with lighting effects. David Carmack Lewis takes full advantage of this opportunity, using campfire light, street light, star light, porch light and more, and combining all of this dramatic lighting with cinematic compositions to create some truly incredible works of art.
Grants Pass Now February 21, 2008
David Carmack Lewis is a storyteller, and his medium is oil on canvas. His knowledge comes from having studies arts, design, and illustration at the Virginia Commonwealth University, Studio Arts at Virginia Tech, along with painting and printmaking in Cardiff, Wales. However, what sets Lewis apart is his unique ability to paint scenes which impart the feeling of having just missed seeing the main character. One is left to come up with his/her own reason of why the person left, which means that every viewer’s imagination becomes part of the painting as they add their own perspectives to the stories Lewis tells. The use of warm illumination combined with intense shadowing imparts the idea of being gathered around an old fashioned camp fire, but on occasion a sign of modern times will be found, such as a warning sign or water tower. This leaves one to wonder where the story begins and where it ends. Lewis possesses the ability to capture, in one moment of expression, the common thread that links all periods of history and all different cultures. The paintings of David Carmack Lewis have been displayed at well over forty-five auctions, solo, juried, and shared exhibitions. His paintings are now on solo exhibit at the Firehouse Gallery until Feb. 29.
Eugene Weekly February 9, 2006
David Carmack Lewis is another Portland artist who makes a strong statement, albeit in a very different vein. His seven large paintings are narrative and symbolic in character. Lewis started out as an illustrator, and his realistic treatment of subject matter that can veer into fantasy retains an illustrative quality. What is depicted remains intentionally ambiguous, however, so that the viewer is free to interpret the scene and its symbolic elements according to his or her own system of associations.
Lewis's main character is an older man, slim, sharp-faced and benevolent, who undergoes various incarnations in each painting. Sometimes he sports a saint's halo, speaks with a raven, or perches in the magic circle of a toy train in his library. Sometimes he is the puppeteer who directs Cupid's arrows to his own heart. Priest-like, he blesses a gold fish before releasing it to the sea. In You're Welcome the setting suggests both America (white picket fence, flag) and Mediterranean Europe (checkered tablecloth, wine, guitar). The somewhat younger protagonist appears to be comforted by the older waiter and musician in a scene which the absence of explicit symbolic elements renders quite moving.