1980 BACH FESTIVAL CYCLE

I found his music like geometry, a rhythm timed by a mystic clock. Painfully human, he used folk tunes even in liturgical scores, a master of secular Baroque. I saw a parallel between the Bach Masses in Bethlehem, PA. and the Italian Futurist's analysis of light from the 60's. These works imply the personal because they are so explicit and literal in revealing the thinking. Process strikes a sense of atmosphere and indirectly articulated yearning. Orbs hover over color beacons that shoot out laser rays of light that reach unendingly into space. The rational and masculine bespoke the impossible mix of focal points and light qualities lend the paintings an air of portentousness. Complex patterns weave around taut structures, like bridge cables. The phenomenon of resonance and tenebrous effect darkness. I adopted geometric formalism, eliciting a dialogue with the surrounding space. Patterns imply infinite extension outward rife with overlapping planes.

108. DYNATON ( Greek: the possible)

Sun flower’s flowering flameand stem-like emanation of yellow light. Concentration, energy and purpose are manifest in the in the residue of yesterdays passion. There is a tripartite division of oddly biomorphic elements. I ran a dominant white line down the center of several works, separating and yoking left and right to cinch the integrity of the image. Angled lines of about 15 or 20 degrees imposed a visual tension, contraries in suspension. Dissolution vs. resolution antipodal to Abstract Expressionism became the subject of the work. The lack of hierarchical structure is a prerequisite for what is positive about the work. The music’s power to image forth a political premise still basic to America’s idea of itself. The use of the abacus, reference a social and moral valence.