Size: 10.8"W x 14.6"H x 1"D
Year Created: 2018
“Thin Section 2″ picks up some of the compositional ideas that first appeared in “Thin Section 1” and runs with them. I became more interested in fields and pools of color than in the tangles of lines so prominent in the Entanglement Series. I also developed a new technique to brighten the colors by injecting iridescent ink into still wet pools of pigmented ink. This iridescent ink is heavier than its colored counterparts and tends to spread beneath the colored ink yielding lovely graded splotches of iridescent color reminiscent of cellular or mineral formations.
The yellow here is a very pushy Higgins ink that spreads and thins over the wet surface, producing that amorphous form that doesn’t seem to have any well defined boundary. The magenta that dances around the lower left and up around to the upper right is a Windsor Newton ink Liv’s mother gave to me on my last trip to New York. That magenta is one of those magic colors that instantly makes a painting feel like it has a lot of potential. It goes on early and makes me want to carve out spaces for it to shine through.
This painting is unframed.
My work is an exploration of the physical and spiritual nature of life expressed in color and movement. I believe the purpose of art is to help man find his place in the universe, and I consider a painting a success if it has that spiritual quality that draws people into a state of meditative contemplation. My work is meant to be evocative rather than representational. I want to engage the viewer and bring to the surface the same sense of wonder you might get by looking at a sunset, the northern lights, a coral reef, or a star-filled sky. This language of imagery has impressed itself upon me and it informs my visual lexicon. My paintings are composed without linguistic thought; there are no words running through my head. The process is deeply subliminal. It is my goal to communicate with the viewer on that subconscious level.