1994 THE COMPOSER’S ROUND

The composer’s round orchestrated the pure relations of tone and line, light and dark for psychological effect. Indicative of the unseen, is a lyric order of process and pattern, Staccato visual rhythms of painted-collage hybrid the irregularly shaped pieces of wood to a multidimensional realm. Hybrids of platonic truths in its material shadows. I incorporated songs of Harold Arlen, who originally came from Buffalo and composed mainly for film. The compositions work in intervals of tone and space using tape loops on old machines purchased second hand stores. Purity and economy became an issue, referencing rhythms of release and confinement, ecstasy and despair, life and death, heaven and hell, adapting them to my own belief in the importance of the “inner music” of painting. Even in the most abstract of these compositions, there were suggestions of landscapes, still life’s, or voluptuous female figures, a kind of symbolic abstractionism.

In this series, I was inspired by D. V. Baranoff’s 1913 painting CAPRICCIO MUSICALE

296. THE FALLEN SCALE

A woman’s torso is defined only by contingency.  Elusive and beguiling disposition changes.  A woman reflected in and disrobed by a mirror.

The reflected form appears to be floating on an oval of glass. 

Glimpsed fleetingly, but unmistakable in an azure pond. 

Equally apparent is the role that disire plays in bringing images to life. 

Incorporates fragments of a scale from a kosher deli in Berlin with thick encaustic, echoes of Medardo Rosso. 

The penchant for visual forms of semantic play witness the discovery of the hidden. 

Eidetic images,those that exist in memory, not in life, and magic endowed ritual objects address human optical experience.

A bright area of color, again a blood red suggests an altar on which a sacrifice has just been consummated in a preceding enfilade. 

I developed a staccato technique for reprehensive wavelets.

The great line of geometric abstraction reaches back to Malevich prophetic pictures of the early teen’s echo the contours of their pictorial supports, seeking to express a higher order of being through syncopated grids invoke organic completeness.

Motion and pathway to invention control of contour, verisimilitude, line driven form. 

I would leave out the nose and enphasize the mouth as Man Ray’s 1934 “Al’heures de l’observatiore-les Amoureux.”and De Kooning’s women, built arourd their mouthes

Roseenquist &Warhol’s use of movie and advertising.  The part stands for the whole.

Images pushed up to the picture plane, explore the mechanism of power from within, to expose mythologies of history’s writings.

298. Round Eyes in Square Holes 48” encaustic & piano keys on wood

A sphere is rendered against dress patterns and grids. The abstract language of piano keys spiral out, systematized, the dysfunctional mannerism and the use of silence in music, that breathless silence that is the music of the dark

I cut up musical scores ambiguously, causing everything to lose its heaviness.

A man walks up a boarding ramp. A gap occurs between the music’s technical and material features.

The instrumentation and the crafting of sound.

The more ethereal realms of emotions and intellect reached through the realization of a musical piece.

300. WHAT WE HAVE YET TO GAIN

32 x 39" Fabriano 200 # coldpress rag

303. PROMETHEUS

Promethean scientist who unlocked the mysteries of the cosmos, thereby elevating all humankind to the level of the gods.

306. A Bell is a Cup Until it is Struck

The painting is a long, shallow curve: an abstract version of an Etruscan chariot.

The sleekest of conveyances and a penetrating engine of assault.

The whiteness gives the quality of objects closed in on themselves, where density has reversed its magnetism, throwing the self-evident into a questioning light.

In a sculptural vein of a narrow wooden column with curving contours, bearing a chalice of metal at its base.

The shape of the column suggests that of the drinking vessel and, given the pronounced curve, the idea of woman as vessel.

The result was to provoke thoughts of rituals wine or sacred potions

The dialectics of conquest and dispossession.

I was into the smooth, amoeboid esthetic of Italian Bolidism, from biomorphic of the 30’s. Devoured and redeployed, to test the limits of origin.

307. FLOATING HANGMAN

Inspired by lynching victims described in Billie Holiday’s searing image of “strange fruit”. The psychological state in which the individual loses his ability to use words and in this, learn new nomenclature in order to understand the world. Using stick figure from the game of hangman.

310. BETWEEN A-flat & B-minor

Inspired by Daumier’s, Man on a Rope

1858-60

A tonic collision of new sensibilities to old traditions.

Introducing cut-out photo copies from found offset photographs.

Painted wood constructions composed of two similar paisley shapes, intersecting, representing the right and left halves of the brain.

Crescendo and decrescendo of cadence.

The elephantine flaps of two wood panels carpentered to fit, but not touch. Conceived as Dutch doors to nowhere.

The work scissor out into space

It was intended to define as though moving through a looking glass. More than merely a note.

A woman climbs a rope ladder of a wall whitewasher.

The chalky, rough surface plays to the suspended woman resonates for all precarious human conditions, as the work is about suspense itself.

Mounted musical compositions embellished with stray musical signs and notes to a buoyant if unplayable composition of peristaltic ally pulsing

A visual resonance that suggests an almost comically literal music of the spheres.

305. NUAGES

I used plangent rhythmic strokes to catch the sky, trees and sheep in Brittany in Northern France. The whole picture plays with the notion of highly visible invisibility. It is not the object of desire that is obscured, but desire itself.

306. A Bell is a Cup Until it is Struck

line a long, shallow curve: an abstract version of an Etruscan chariot, it’s the sleekest of conveyances and a penetrating engine of assault. The whiteness gives the quality of objects closed in on themselves, where density has reversed its magnetism, throwing the self-evident into a questioning light. In a sculptural vein of a narrow wooden column with curving contours, bearing a chalice of metal at its base. The shape of the column suggests that of the drinking vessel and, given the pronounced curve, the idea of woman as vessel. The result was to provoke thoughts of rituals wine or sacred potions upon their heads. The Russia migration, motored by the need to dense populations of cultural instability. The dialectics of conquest and dispossession. I was into the smooth, amoeboid esthetic of Italian Bolidism, from biomorphic of the 30’s. Devoured and redeployed, to test the limits of origin.