Every Other Line

Every layer of liquid color becomes a new surface, another “ground” that indelibly saturates the linen. Color then becomes substantive while surface simply waits for the dancers to arrive. Our sights are no longer set on a fixed object.

Horizontal bands lighten and deepen, hues structured to tempos following melodic breathed lines, coursing and intersecting into a set of spatial shifts found between illusion and location: internal connectedness is looking like external dialogue.

Measure by measure, a code of marks set down, and incrementally become a means of visual transport, a vehicle for exploration.  All things become gradations of the other: from dark to light, from base camp to overlook, from within bridging outward.  Here exist the complexities, nuances, the root systems that feed one another.  You can only see this line in relation to the other, and the implied line (the one you cannot see) gives deference to the one you can.

Here are 50 new paintings, each one 13” x 13” x 2¾”. Every piece is an extension of the other and an interdependent member with its neighbor.  With influences ranging from jazz improvisation to color theories, from Vermeer to Albers, from Dostoevsky to Emmanuel Levinas, this new body of work rhythmically improvises its way through the complex issues where “the face of the other” becomes the means by which individual works (and we as individuals) find identity.