2007, Oil on board, 24"w x 24"h
A part of my work has always been organization and analysis. Structures suggested themselves from the placement of objects in rooms, from works of art and from the tangles of landscape. Underlying any image is a geometric structure. And another part of my work has been that of seeking the ideas, intents, desires, wit and experience of a place—the genius loci. I have tried to show how the vegetative landscape regards itself. If form, for a poet, can be both structure and essence, it can be so for a painter.
Form, in my most recent work, includes moments of color navigation, the sort of “second navigation by color” spoken of by Derrida in Truth in Painting. Some works assert, I think, a strong, rather weedy, architecture and then ask the eye to ponder changes in colors—their degrees of saturation, their textures and their values. 7 Knots adds to these concerns seven knots that the viewer is asked to solve. All the knots are classic knot problems.
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