About my geometric abstract paintings: While I haven’t abandoned the easel and use paintbrushes, the surface is devoid of perceptible texture and traces of paint-handling, except for the slight ridges caused by the removed tape. I paint on a cradled birchwood panel and prefer the infinite effect of this remaining unframed. I use acrylic gouache (low-binder, non-reflective, absorbent color). Triangles, squares, rectangles, rhomboids, and trapeziums are arranged in autonomous, non-hierarchical patterns that structure the compositional field across the entire surface. My subject is color and line, and the energy that arises through the juxtapositions created by abrupt transitions between pattern areas. I regard my work in geometric abstraction as an extension of the movement away from gestural, expressionist abstraction, a movement advanced over the last half-century by artists such as Barnett Newman, Kenneth Noland, Frank Stella, and Ellsworth Kelly, and to a less degree, Mark Rothko and Richard Diebenkorn. Several predecessors are important to me, particularly Victor Vasarely, Piet Modrian, Wassily Kandinsky, Paul Klee, Kasimir Malevich, and Islamic art in general. I find non-objective painting exciting and I believe it challenges the viewer to see the world in a more wholistic and spiritual way: geometric forms are beautiful in and of themselves and it brings me peace to contemplate them and view them: thus I hope the same for a viewer. This work is signed and dated in verso and is sealed with two coats of Liquitex matte varnish that protects it from water and ultraviolet damage and allows for gentle washing (should that ever be necessary). It ships in a cardboard box and is packed with more than adequate protection.
Educated at Goddard and Brandeis (BA, MA, PhD), I taught in the MFA program at the University of Southern Maine. My art has been exhibited in the Museum of American Art in New Britain, the Slater in Norwich, CT., and the National Arts Club, and in numerous juried exhibitions.
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