I: Descriptions of paintings are in the same sequence as they appear in their corresponding web pages. The categories are a guide, not an absolute. Some paintings would fit in other categories as well.
Mitosis, from a drawing done during a trip my wife Debbi and I took to Costa Rica. The profusion of life in the rain forests prompted it. The blue sections are uninterrupted from top to bottom, whereas the other colors are divided by a horizontal line. This corresponds to the way blues appear in skies or oceans, seemingly infinite compared to the other colors that don’t evoke infinity in the same way.
Ribbon Dance was the first of the translucent/opaque series. The series begins with a twofold fascination. First is with the way layers of translucent colors mix and interact in comparison to the way opaque colors do this. Next I like the way curvilinear lines bounce off the edges of the triangle and their forms are determined accordingly. Playing with magnets was something I enjoyed doing as a kid. The triangle itself is a fascinating shape to work with, restless boundaries, seemingly 'looking' for the fourth side.
Clustered Lifelines was the natural follow-up to Ribbon Dance, giving each triangle its own color range, while allowing some colors to share more than one triangle.
Butterfly to Boomerang shows a conjoined network of lines within facing triangles spanning across and partially covering another network of lines.
Circulation Within Shadows was inspired by the recent solar eclipse, the light behind everything, how whatever we see by day is in front of the sun and therefore it's all in shadow relative to the luminosity of the sun.
Emerge and Submerge is a division of forms that make use of the boundaries of the hexagon to form an asymmetrical division of shapes. The top colors are iridescent and the bottom colors are more subdued, evoking a vessel submerged in liquid.
Heptagon Horizon. While doing prep drawings for a chromatically darker follow-up to Circulation Within Shadows, the idea of a heptagon appeared as a separate idea with prep drawings of its own. It seemed a natural to insert the heptagon within the jagged geometry. The heptagon itself is an interesting shape, seven-sided, between the hexagon and octagon. Hexagons and octagons are quite common- bricks and tiles, honeycombs, stop signs, etc., but heptagons are not really part of our everyday reality: the unfamiliar hidden between familiar shapes.
Heptagon Rotation continues both my fascination with the heptagon and equilateral triangles, as well as that of combining regular and iridescent colors, as in Emerge and Submerge.
Runaway Sevens is about day and night, over and under vs. through and through forms, and relationships between both iridescent/regular colors and opaque/translucent colors. Four of the seven equilateral triangles are within the heptagon and three are outside of it.
Septagon Swirl shows seven septagons, a.k.a. heptagons, each within the other. A single curved line emerges from the periphery and travels to the center. On one side of the line are metallic or semi-metallic colors, while on the other side of the line are non-metallic colors. The line traverses seven different color schemata.
Torchlight Prism shows light and heat coming up from below rather than from above. Each facet of the heptagon becomes a side of a form that picks up light according to its characteristic color schemata. It's a bouquet, or as one viewer noted, a lollipop.
Swirling Octagon Vortex is my second painting using an expanding octagon grid. It shows continuous movement of light/dark contrast playfully interacting with the grid.
Drunken Spider, Quadrant Variations, Orbiting Apertures make use of four different grid systems around which common forms circulate. Continuity and discontinuity are balanced and suspended by the orbiting lines. In the top two quadrants of Drunken Spider the straight lines go over and under each other, while in the bottom two quadrants they intersect other.
Fire Juggler shows an abstract entity suspended within four quadrants, with fiery projections.
Prism of Pinnacles shows an octagonal vortex grid in the center and this grid breaking up at its diamond peripheries, unified by a single connecting curvilinear line.
Roseheart in Limelight is a nocturnal painting based around a single line turning in on itself. The connecting straight lines act as an internal structure that holds the line in place as it twists and turns from periphery to center.
Life on Venus is a color fantasy. If we could stand on the inhospitable surface of Venus, what colors might we see? And if there were native organisms that could survive those conditions, what colors would they perceive in a world of perpetual heat?
Writhing Diamond is the first of several paintings using a diamond shape. It shows the interaction of centrifugal and centripetal movements and perspective in contrast to reverse perspective. I've allowed the colors to go beyond usual warm/cool, dark/light boundaries of my earlier large-scale paintings to emphasize constant variability.
Fulcrum uses a strong light/dark contrast to show the union of triangles against a neutral earth color field. I did this painting after returning from a trip Debbi and I took to Ireland, inspired by the Celtic knot. There are four orbits that begin autonomously but then intersect whenever they meet.
Flotation, Symbiosis are from a series of six-foot square paintings I did at the height of my interest in pure color theory and its relationship to music, especially minimalism and ambient music. All colors and contrasts were determined in advance of application to the canvas.
Aerodynamics evokes the turning of a propeller where the movement carries the forms it affects and determines their rotation.
Tuning Fork is about color vibrations, chromatic ripples multiplying as they get further from their origin.
Commingling Polarities allows the viewer to see conventional and reverse perspective simultaneously. I kept the curved forms simple for this relationship to be clear.
Carnival. Here I decided to abandon the grid and just have fun and let the forms play.
Zippier Counterpoint is based on a b/w pen & ink drawing I did in 1979. It's what I would call a gap painting. During creative gaps, it's fun to delve into older ideas and bring them back to life in a new way. I decided to relate the colors to each other in ways that keep the eyes constantly moving, using earth tones to balance colors that would otherwise clash at times. Figures
Figures within the abstract. Parallel to my abstract painting is my love for drawing from the life model. These paintings show a merging of my color field methodology with the figure. The figures appearing in these works are from drawings ranging from one to twenty minutes. I look over my drawing pads and find figures that work together as a composition. As for the narrative, I think of ancient Egyptian friezes before the Rosetta Stone gave us translations- a story is being told but the meaning is a mystery.
Faceted Fire Shaft is about reaching for the light that illuminates, or becoming the light that we wish to illuminate.
Eye of the Day shows two dancers stretching. The figures are darker than the background. In keeping with the abstract idea of foreground and background being interchangeable, the background mirrors the movement of the figures.
Day Surges Night Merges was done during a very wet summer. I was recalling dryer times on the Greek island of Milos, where Debbi and I went the year before. Desert earth colors against the Aegean blues. Purples lend a splash of mystery.
Existing Before They Arrived permits all colors to be everywhere, no color separation of figures and background. The space the figures inhabit was there before they arrived and upon departure contains the traces of their having been.
Fire and Ice employs figure/background reversal- reds on blues vs. blues on reds. Black, white and gray exist primarily to separate the two sections. The figures are both looking down at something, which unites them spatially.
Shifting the Blues. She moves the space that he’s holding onto.
Sunset. A dance within the colors of late afternoon.
Diving Platform. Holding on and letting go, with colors of spring.
Luminescing in Tandem. Figures suddenly appear luminous against a darker background.
See-Saw. To and fro, they’re having fun.
II: Artist Statement
To summarize my intentions as an artist, I look at the many ways that nature-based and system-based forms can be made to interact within a field of colors which themselves contain sequences of varying degrees of predetermination or spontaneity.
I paint across line, rhythm, color, luminosity, harmony and vitality, moved by the balance of emotion and perception, joy and logic, the intuitive and the analytical.
Living at the crossroads of city and country, the constructed interacts with the natural, the predetermined with the spontaneously arising.
Swinging on the pendulum between the figurative and the geometric, the reflective and the energized, an exciting place to be calm, be agitated.
In love with colors and the virtually endless ways they relate to each other, I often liken color relationships to musical scales. Music is a constant for me and I enjoy discovering new ways of transforming notes into colors.
Lines and colors create the forms of their own continual interaction. Perpetual motion moves me. Forms are passing through time and space, always passing through.
A merging of linear and curving forms corresponds to the way motion occurs in human constructs such as cities and transportation systems. We exist within predetermined structures or grids, where our movements are circumscribed and yet there is fluidity in the ways we navigate these systems.
Shifting realities, looking down from the sky at a tiny house on the ground, looking up from the earth at the distant plane passing through the sky. Form is in the places where viewpoints intersect.