When Is A Window Not A Window?

When Is A Window Not A Window?
When Is A Window Not A Window?, oil and ink resist on wood; 1987; 25.5 x 25.5 in

In 1987 I did a series of pieces on wood and masonite with the purpose of incorporating the built-in frames as an inherent part of the paintings. The idea was that gaps left between the edge of the frame and the piece proper would allow the wall color to become part of the work itself.

In this piece, the irregular gaps create a rhythm that moves around the piece and adds to the gestural action of the scraped, biomorphic rectangle. Parts of the center were left as raw wood, which is altering its color through the aging process.

The name of the piece refers to my early school days, when a classroom window was a doorway or a portal, if you will, to my daydreams — the answer to the title question.

Broken Arc

Broken Arc, photograph, 2006; 8 x 8 in

A photo from 2006, this one brought together my desire to portray strong imagery in a flattened space. The dull gray sky enabled me to shoot it with the razor wire in shadow silhouette to accent the forms. I particularly enjoy the up and down movement of the arcs, the implied danger element of the razor wire, and, of course, the break in one arc that interrupts the flow and becomes a focus that competes with the light-filtered sun.

Red Lid Sidewalk Sunset

Red Lid Sidewalk Sunset, photograph, 2007; 8 x 8 in

For many years now  I’ve been approaching photography as a painter: flattening space and concentrating on color, composition and texture. I stumbled on this scene in 2007 on an exploratory walk after a rainfall. It immediately reminded me of Japanese prints and Adolph Gottlieb paintings.

Honk If You Love Euclid


Honk If You Love Euclid, oil and wax resist on paper, 1988; 24 x 24 in

This piece epitomizes the type of work I was making in the late 1980s and early ’90s. Namely, it’s a square format; a resist (here, oil and wax resisting India ink) on printmaking paper; makes use of metallic tones (here, gold) and reflects my ongoing interest in the creative connection between science and art.  This title obviously refers to the Greek mathematician Euclid, who is often called the Father of Modern Geometry.  The composition has two prominent and one implied triangles: the purple somewhat equilateral triangle slightly up from the center, the black triangle visually created in the lower right by the dissecting green-blue line, and the gold implies a triangle that will complete itself if the blue line were to continue until it meets the left and right edges. The painting was exhibited in New York in 1989, and is currently in the show, Grand Installations at the BWAC Gallery in Brooklyn until Oct. 15, 2017.

UPDATE: This painting was purchased at the opening.