self portrait moving, 1999     canvas 1997-2001 logo

   new signature 2001
self portrait & first light, 1999

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Shortly after I finished my evaluation of work exhibited at Kothe Howard in Charlotte, I launched the current phase of my painting. The first months of work were angry reactions and feelings I possessed over the failure in the digital canvas. I literally thought that I had wasted two years working only on mechanics of paint application and copying. Once the digital image was finished on the computer, it was finished; save some form of multiple printing of the image.

The new work was executed rapidly and mostly intuitively; very little planning. I'd select some colors randomly, mix some paint volumes, and paint. I didn't want to think about anything while I painted. Since I work flat, the painting lies flat on my sawhorse easel setup, I would walk around the four sides and make my moves as if I were a crapshooter. Automatism ruled! If a painting needed correcting after a session was over, I considered the painting a failure. I'd strip the stretcher, redo and start again. I found the process exhilarating, and still do today.

Throughout my career I work endlessly on paper; painting and drawing. I especially like working with watercolor techniques using the water-based acrylic polymer paints (thick n thin). It is a fast and immediate art form on paper. After nearly 40 years of painting, I am beginning to establish this same freshness on canvas. I don't know why this has been such a long struggle. I am more afraid of a blank canvas than I am of a blank piece of paper. Also the nature of painting on canvas -- over painting, painting out, the large scale of it, etc - creates more dead space than alive space. On a piece of paper a few marks can complete an idea. But one has to make a more complex effort on a canvas! Hogwash! I now believe that a few marks on canvas can complete an idea on a canvas too. Color me Zen!

A note about the new melenium - 2000. This was not a good year for me healthwise. I was diagnosed with spinal tumor last February. Although the surgery was successful, the recovery period has been long and hard. Only recently (October-November 2000) was I able to lift over 10lbs. I completed only 3 canvases in 2000, and that was last January. I have concentrated only on paper as a support and acrylic paint. The painting sessions are still very short for me; lasting only a few hours each day. But the work is electric.

Umbra, 1995-98, a/c, 56x53
1) Umbra, 1998,
53"h x 56"w"
2) Guston's Dial, 1998,
Acrylic/ Canvas,
42"h x 36"w"
Sar One, 1999
3) Sar One, 1998, Acrylic/ Canvas, 45"h x 32"w"
Cy's Garden, a/c, 1998, 25x24
4) Cy's Garden, 1998, Acrylic/Canvas,
25"h x 24"w"

Philo, 1998, a/c, 28x28
5) Philo, 1998, Acrylic/Canvas,
28"h x 28"w"

Goya Interior, a/c, 1998, 22x32

6) Goya Interior,
1998, Acrylic/Canvas,
22"h x 38"w"
Dizzy, 1998
7) Dizzy,
1998, Acrylic/Canvas,
28"h x 28"w"
First Light, 1999
8) First Light,
1999, Acrylic/Canvas,
61"h x 56.125"w"

Hodges Chapel, 1999
9) Hodges Chapel,
1999, Acrylic/Canvas,
68"h x 64.5"w"
Gossimer, 1999
10) Gossimer,
1999, Acrylic/Canvas,
56"h x 53"w"
Yelloop, 1999
11) Yelloop,
1999, Acrylic/Canvas,
43-3/16"h x 40-5/8"w.
Shiki Text, 1999, a/c, 53x56
12) Shiki Text,
1999, Acrylic/Canvas,
53"h x 56"w"

Abexum, 1999, Acrylic/Canvas, 56h x 53w (15K)
13) Abexum,
1999, Acrylic/Canvas,
56"h x 53"w
Thefra, 1999
14) Thefra,
1999, Acrylic/Canvas,
56"h x 53"w"
Godwin Falcon, 1999
15) Godwin Falcon,
1999, Acrylic/Canvas,
68"h x 64.5"w.

STOLENMOMENT, 2000 (11K) 16) Stolen Moment, 2000, Acrylic/Canvas,
74"h x 69"w"
Efras, 2000, ac, 42x36 17) Efras, 2000, Acrylic/Canvas,
42"h x 36"w"
Intertwine, 2000, ac, 32x45 18) Intertwine, 2000, Acrylic/Canvas, 32"h x 45"w. VERMILLIONDREAM, 2000 (12K) 19) Vermillion Dream, 2000, Acrylic/Canvas,
56h x 45"w"

Image intensive page - be patient while images load    Updated   August 1, 2008

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