Original acrylic painting, 24″ h x 36″ w on 0.75″ deep canvas (wood stretcher supports). Canvas is stretched around the edges and painting is continued around the sides.
Signed and dated on back. Ships free in the USA (or pick it up in Boston). Please inquire about shipping to other locations – I can usually cover most of the costs. Original paintings from my shop ship fully insured with a typical turnaround time of roughly 10 business days (less for small items). Once they’re with the shipper, actual transit times vary by destination.
I will gladly exchange or refund work that you do not like if notified within 30 days of receipt. Customer pays the shipping on returns and/or exchanges. Most people like them better in person.
Prints are also available
acrylic on stretched canvas with texture gel media (acrylic based or acrylic emulsion mixed)
I have done a number of abstract paintings where there is a large base pattern in the background and a finely detailed foreground pattern. As in many of my similar abstract paintings, the foreground details in “Heretical Musings…” relate to the background, but are not contained nor defined by the initial pattern behind them. They act more like comments; contrapuntal statements that connect and articulate the larger shapes behind them.
I often think of these abstract paintings as a kind of artistic envisioning of a heuristic. The background is the initial set of conditions and the finely detailed foreground is the complex evolving state.
My process in creating these pieces is also not completely deterministic. The background is created geometrically. In this case tape masking was used to create hard edged layers of defined geometry. The foreground is built on the background, but also articulates and works with the little “mistakes” vagaries and randomness introduced by the imperfect masking and painting process. The foreground is completed in fine detail and freehand style. The change in approach and style from foreground and background emphasizes the contrast between the “set” deterministic geometry in the background layers and the looser more responsive and unpredictable freehand figures in the final foreground layers.
The visual idea of tiny and sharply articulated things in front with more weakly colored graded larger geometries in the back is a familiar aesthetic for me. Many painters derive their visual intuition from years of looking out at nature and the landscape, etc. Those scenes have certain visual cues that denote depth and dimension.
I have spent a large number of hours looking at the world through various scopes and focusing optics (light and electron microscopes mostly). In these types of optics, the focal plane and the out-of-plane defocused images create a completely different type of aesthetic. The visual cues and logic of microscopy have become second nature and form the visual intuition that orders many of my abstract works.