About My Work
The physicist, Heisenberg, proved long ago that momentum and the placement of particles within the atom are intrinsically interwoven. From this perspective light is now understood as a dynamic dance of interacting particles traveling in wavelike fashion. The act of observing freezes the moment, changes the interaction, and determines what one sees. In my art I explore light as it interacts with both Euclidean and biomorphic forms. Euclidean rectilinear forms (straight lines, rectangles) are often found as elements of architecture. They can be cold, sharp, angular and create boundaries and constraints. Biomorphic forms, on the other hand, are curved, warm, flowing and organic. Juxtaposed in the same canvas they can create tension—so much so that the composition is difficult to resolve. But as light is added, interesting color changes occur and new forms are created. Warm can become cold, and reciprocally, cold, warm; Euclidean can become biomorphic. Compositions are resolved. Light coming through rectangular windows (Euclidean) but falling on a human figure (biomorphic), or a human figure blocking light and creating shadow on a rectilinear table, are examples of topics I explore in my work. In Reflecting, (oil on canvas, 84 x 40 in.,
plus two side panels, each 60 x 10 in.) the figure stands in front of
three tall windows, blocking a portion of the light. She faces the
viewer but is bending over a long rectilinear black table looking at two
books, a math book (Euclidean?) and an art (biomorphic?) book (Rothko—because
his work has both…color, warmth, boundaries fuzzy, but almost
Euclidean). The light reflects on the table and shadows and mirror
images are formed with much interaction of light between the forms, yet
the movement of the woman is suspended in this interaction. Which book
will she choose? The side panels are abstractions of the created forms.
The painting is a self-portrait, a depiction of the crossroads I have
reached. The math book (one
of mine) is shut. The art book is open. |
Reflecting |
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In Home (oil on canvas, 48 x 36 in.), a house (Euclidean) by the ocean is bathed in light. White, sharp lines become soft yellow (almost biomorphic) and shadows fall on the porch and on the figure (biomorphic). There is much interaction of light and shadow, and interaction between the forms, and yet movement is suspended. Stillness, but warmth, characterizes the moment. Is she leaving or sitting? [Private Collection of Julie Branby and Damien Fosnot, Norfolk, VA]
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In The Red Table (oil on canvas, 12 x 24 in.) light interacts with the Euclidean windows and red table and a biomorphic cup. [Private Collection of Caroline and Joshua Fosnot, Philadelphia, PA]
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Stillness (oil on canvas, 12 by 24 in.) is #1 in a series of similar studies. The figure has been removed in an attempt to move a little towards abstraction, studying only the light and color. Although many of the forms created in the negative space are Euclidean, the composition itself takes on a biomorphic feel. |
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She is Waiting (oil on canvas, 48 x 36 in.) investigates a woman (biomorphic) in shadow holding a small teacup, waiting, while life is happening just outside the window. The viewer is enjoying life, standing by an open sun-drenched window (Euclidean). The light bathes the viewer and the large biomorphic cup and teapots. [Private Collection Danielle Branderhorst, Utrecht, The Netherlands] |
Leaving Holland (oil on canvas, 48 x 60 in.), inspired by a painting of v. d. Meer, Op Weg, is a self-portrait painted after the break up of a long-term relationship. The land (biomorphic) is painted as Euclidean. The emotional moment of departure is frozen but with much apparent motion. Is she following him as he departs, or are they approaching each other? |
Transformation: What’s Primary? (oil on canvas, 30 by 50 in.) is also a self-portrait. The golden ratio—the irrational number, phi—characterizes the preservation of identity through growth and development. Whether I choose to pursue math (primary numbers), or art (primary colors), the self remains. |
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Attachment and Letting Go (oil on canvas, 5’ by 6’ with five side panels). Two figures are depicted: The boy is Euclidean and the woman is biomorphic. The five side panels provide a narrative. The top panel is the tie of the mother, but in the form of a Mobius strip to represent infinity. The second is detail of the geometry on the boy’s back. The third represents the interaction of the figures with an explosion of color. The fourth depicts flattened breasts, the result when the Euclidean overpowers the creative biomorphic form. The fifth concludes that while we all may tell our own stories as we interact with the canvas, all that is there is a canvas and paint. |
Turbulence and emotion characterize Low Tide (oil on canvas, 36 x 48 in.). A storm approaches; shadows emphasize angularity of the Euclidean; the biomorphic forms (figures) are separating. |
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