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In my next few postings, I hope to give the readers of Scene4 a sense of the several kinds of Abstraction that I have access to – and utilize – in my paintings at the same time. This openness in my choice of styles, of means, directly leads to the possibility of an abundant variety and freedom within each of my paintings. It widens the circle of emotional expression they are wont to convey to an engaged audience. Strange as it might appear to some, my main criterion in deciding that a painting is finished, in agreeing to let it out of my studio onto the world, then becomes essentially: is it fresh? No stale paintings, please!
"In Loving Continuity"
30in. x 40in. ( 76cm. x 102cm.), oil stick & acrylic on wood panel, 2017
This larger painting has been noted by the viewers to exhibit an interesting visual effect. After viewing it for a while, the eyes adjusting to its color schema, the two lighter parts on the right and left of the painting, suddenly appear to darken – the brushstroke texture on them becoming more contrast-y, sharper, and both of these parts more prominent, detailed.
"The Wind Carries the Scent"
30in. x 40in. ( 76cm. x 102cm.), oil stick, acrylic, glass beads
and textural media on wood panel, 2016
To continue with the more minimal mode: this new season seems a good time to share with you some of my (what I call) post-minimal paintings. Most of my work in this 'genre' utilizes a wonderful modern material -- tiny glass beads in an acrylic gel suspension. The luminosity and subtle texture this material provides, along with the colorful paints and other textural materials I use, account for the look, the impact and even the composition of many of these paintings. As it is said, "in the nature of materials", indeed… .
"Dream a Little Dream of You"
24in. x 24in. (61cm. x 61cm.), acrylic & glass beads on wood panel, 2020
More examples to follow in subsequent postings… .
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