Opposite and Alternate
Previously committed to pure abstraction, during the 1990s I began to introduce realistic imagery into my paintings. I felt the need to explore something more personal than pure abstraction. The change in direction began after taking Natural History courses at the Audubon Society in conjunction with the USDA. Through the study and exploration of life forms, I looked for a marriage of abstraction and realism while retaining a minimalist aesthetic. Beginning with 9/11, the image of the flower became a metaphor for life events or connotations. Placed on a field of color overlays, the image of a flower or leaf is often restrained or in opposition to the vertical line. As in Counterpoint (2010) curved natural forms are held in check by the vertical line of the left border and the division of the light and dark color fields. In the images, Trinity (2010) and Twain (2010), the flowers with their long vertical stems, mirror the verticality of the left edge. As in Canto (2013) and X’s and O’s (2013), my basic signature has remained the same; the use of color as communication, the interest in the painted surface and a minimalist aesthetic. The large fields of color are painted with many color overlays using a small brush.