These paintings were made in a rather indirect manner. In 1987 I began experimenting with circle intersections. For a while, I didn't have access to a computer,when I did,I started on a slightly different tack. I began to combine squares and the same size squares rotated 1/4 turn into what are commonly called diamond shapes, so it became the DIAMOND series. These works were all about intersections of shapes defined by straight lines, and the resulting interelationships.
By using the computer to develop drawings that would be difficult for me to develop without one, I was obeying the first rule I learned about computers, which was, "Don't use one if there's another way to do it". Scientists have used computers to track increasingly complex events. I found that I could develop methods to initiate complex events. It took more years before an appropriate method appeared with which to get those events out of the computer. Now a new printing method allows artists to print their images in pigment on canvas . I believe that painting is more than a particular kind of object . Claus Oldenburg has said he considers his work, notably 3 dimensional, to be painting. I felt the same doing 3-D environmental work. Painting is a tradition, a way of reaching others that directly affects the eye, the mind, the spirit and the viscera. So it appeals to me to return indirectly to the standard object, pigment on canvas, without ever touching the painting.
Both in the phases of exploration and refinement and that of execution, the use of electronic methods is appropriate and necessary. By creating a hundred or more drawings to find one candidate for painting, I am in an old tradition. But the development of even one drawing is a task of incredible complexity by traditional methods, while the electronic methods allow me ease, speed, flexibility, and an intuitive range in the task that FEELS like older methods of painting and drawing.
See some small images of the paintings
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