Space Study #1 exemplifies my ongoing investigation into the intersection of art, science, and visual cognition. The painting’s layered hues—derived from a limited palette of red, green, and white—demonstrate how subtle shifts in chromatic balance can generate a sense of depth and spatial ambiguity. Continue reading “Space Study #1 (2002)”
This blue, barren painting emphasizes atmosphere rather than vegetation or humanity. Dense, rather than airy, the suggestion of a thick atmospheric envelope evokes humidity and haze. These kinds of visual conditions are increasingly associated with climate change and warming air systems.
Penrose Tiling #1 explores visual complexity and perceptual rhythm. Rendered in oil on an oblong canvas, Penrose Tiling #1 is a tessellation of rhombus-shaped units arranged in a Penrose tiling—a non-periodic pattern. The composition overall resists repetition while maintaining structural coherence. One visual element of note is how the elongated horizontal format enhances the sense of spatial drift, as the eye navigates the interlocking forms and their directional cues. Continue reading “Penrose Tiling #1 (2013)”
This painting is not concerned with representing an object but is instead staging how vision itself negotiates space. Thus, the viewer is invited to experience shifting depth cues (is the center receding or projecting?); transparency versus opacity; and the instability of alignment and orientation.
Space Study #2 (2002) began as a simple spiral but evolved over time into a more vital and animated surface. Its foundational elements are the spiral, the texture of the masonite board, and the pairing of cadmium orange and ultramarine blue. Complementary colors, the orange and blue emerge as a chromatic opposition that generates vibrancy and depth.
Continue reading “Space Study #2 (2002)”
Like Pandemic Study #1, this evocative oil painting explores the interplay between darkness and illumination through a monochromatic palette. Using black and white only, the painting demonstrates how these contrasting values can generate an almost chromatic luminosity despite the absence of color. The composition investigates the optical phenomenon whereby white light contains the full visible spectrum, while challenging conventional notions of black as merely the absence of light. Continue reading “Pandemic Value Study #2”
Penrose Tiling #2 features a tessellation of rhombus-shaped units arranged in a non-periodic pattern—one that resists repetition yet maintains internal logic. On this large, square canvas, the work’s mathematical underpinning becomes a vehicle for perceptual play, as the viewer’s eye navigates shifting planes and chromatic transitions. Continue reading “Penrose Tiling #2 (2015)”
This evocative oil painting explores the interplay between darkness and illumination through a monochromatic palette. Using black and white only, the painting demonstrates how these contrasting values can generate an almost chromatic luminosity despite the absence of color. The composition investigates the optical phenomenon whereby white light contains the full visible spectrum, while challenging conventional notions of black as merely the absence of light. Continue reading “Pandemic Value Study #1 (2020)”
Perceptual Study 31124 is an optical illusion study that deliberately engages the viewer, shifting perception with each glance. Therefore, this work is less about static imagery and more about how the brain interprets ambiguous visual cues and luminosity, making it a dynamic perceptual experiment in which both the illusionary shifts and the color gradations remind us that perception is unstable, contingent, and deeply personal. Each encounter with the painting is unique, making the viewer an active participant in the artwork’s unfolding. Continue reading “Perceptual Study, 31124 (2020)”
This 1983 gouache and ink work, Ships, reads as a stylized boat within a rigorously geometric, almost architectural framework. Blending a medley of circles, arcs, and rectilinear grids, this small painting evokes a dialogue between a concrete subject (a ship and its masts) and an abstract system of colored shapes.