simplifications

thinking about trying to keep things simple. so how simple can i make it? i’m into color relationships. i’m into where and how things meet. what if i take away the idea of composition? trying a series of smaller works on paper that boil it all down to the simplest terms. i’ve made myself think about ellsworth kelly. i don’t quite know how i feel about all of it. are these paintings? is there enough there? sometimes i think yes. sometimes maybe not so much..

red | red 1.0 • acrylic on arches rag paper • 15” x 30” • 2019

red | red 1.0 • acrylic on arches rag paper • 15” x 30” • 2019

ochre | purple 1.0 • acrylic on arches rag paper • 21” x 42” • 2019

ochre | purple 1.0 • acrylic on arches rag paper • 21” x 42” • 2019

stations of the cross • 2019

the process is always swinging back and forth between complication and simplicity. these works are acrylic on paper with collage. fields are painted directly and then free-standing painted pieces are situated within the field. they are about the directness and impact of the right angle and how those elements are articulated within the space of the surface. color is the primary actor here creating identity, mood and spirit.

stations of the cross • i - xii

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canyons, alleys, and passages

these are painted collages. a series of canyons, alleys and passages inspired maybe by growing up in new york city which on one level anyway, was visually all about concrete, brick and glass towers that created canyons and narrow passages that provided glimpses of the sky only through and between towering gray buildings. color has always been my passionate interest and it is this that has driven this exploration. they are pretty small. the smallest is only two inches square while the largest is probably 15 inches tall. i think maybe a few of them might be rehearsals for bigger paintings.

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stonehenge

some small things, inspired, of course, by some impossibly big things, a visit to stonehenge — who built it? how did they build it? and, in my mind, the most provocative question, why did they build it? someone woke up one morning and proclaimed, “hey, we’re going to build an impossibly stupendous thing using 30-ton stones from 100 miles away. you’re going to work on it, your kids are going to work on of it, your kids’ kids are going to work on it. and none of us will live to see it completed.” and that person or persons persuaded this community to build it. started in 3000 BCE and last work completed in roughly 2200 BCE. astonishing. painted on paper with collage. the largest is 14 inches tall.

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trapezoids & planes

i decided to tilt a few things and play with the illusion of space created by the principles of classical perspective. most are 22" x 30" • acrylic/collage on arches rag paper • 2018

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doors to nowhere special

these are small, painted collages. they are no more than 12" wide or tall. 2018. the process begins with painting large sheets of paper which, over time and with much repainting, get cut down into increasingly smaller elements. sometimes the element for a larger painting becomes the painting itself.

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odds and ends

small collages built from magazine fragments on graph paper. 8.5” x 11” and 11” x 14” • 2017

acrylic/collage on arches rag paper • most are about 22 x 30" • 2016

22" x 60". acrylic and collage on rag paper. they are about the color relationship between the two rectangles (rational/logical) and the more random, flowing, irrational background spaces they occupy. 

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