Over the last year I have had several versions of an exhibiiton that I call, “Continuous Flow”. The first in Boston at Soprafina Gallery, the second and largest at SUNY Oneonta, and in April, a third at Gremillion and Company, Fine Art, Inc. in Houston, Texas. These shows came at an interesting time for me. In 2017, as I was preparing for these exhibitons, I lost use of my hands for six months. I had double trigger thumbs, which meant I could not bend my thumbs, write my name, or hold a brush. What to do? I kept working. I had already been augmenting my representational work with splattering paint and other means of applying paint, so I wasn’t at a complete loss as to how to proceed. But I did decide to give myself room to do a lot of experimentation with materials, imagery, and application. In many ways, this process brought me back to my roots as an abstract painter.
What evolved was an exhibition that certainly reflected this experimentation, and yet through out the work there was a cohesion. I believe that it came from a couple of sources. First of all, all the work was going through my filter — so light and questions of illusion and representation were going to be part of it. But also the words I would use to describe this exhibition has to do with frequency and resonance. And almost all ofthe work had some sort of dialog going on with “the other side”. People have described my paintings as portals. I find this both amusing and accurate. As a child my greatest desire was to live inside a painting. Moving in and out of the depicted space is always something I have been after, whether the piece is abstract or representational.
Here is the blueprint of the gallery, followed by the work in the order that it was laid out:
And this is how it looked in the space:
My painitngs are about light. When I paint representationally and I am about the business of rendering light, I often choose a subject that is back lit. It seems to offer the most extensive and complex qualities of light -- light on a surface, passing through a...read more
I live in a very rural part of New York surrounded by farms. The landscape influences my work, but not always in the ways you might imagine. I pass this farm on a back road to the next town. I have stopped a few times to photograph it. What I really love is how...read more
I've been having conversations with Giotto di Bondone [c. 1267 - 1337, born in Florence, Italy] since I was twelve years old and my class studied the Rennaissance. The conversation became obsessive when in 1987 I created a cycle of paintings recreating the paintings...read more
Several years ago I was crossing the Mall in Washington on my way back to my hotel when I decided I had to duck into the Sackler Gallery, part of the Smithsonian, and see the Asian work there. On display was the Price Collection, on loan from Los Angeles. The first...read more