
Evocative abstraction using primarily blue and white, with touches of other colors on canvas board.
Continue reading “Perceptual Study in Blue and White (2003)”
These works are space and/or spatial studies. Although largely more abstract than narrative, artwork in this category might be conceptualized through thinking about how the use of artistic perspective effectively renders realistic representation. It does this through presenting a spatial study using techniques to represent three-dimensional space on a flat surface, which in turn allows for a more immersive visual experience. Thus, it is not just about creating depth, because it doesn’t add it to the flat plane. Rather it evokes a depth comparable to three-dimensional space. This applies to the work in this category. These pieces manipulate composition to influence how viewers perceive depth and spatial relationships, enhancing the overall affect/effect of a work. For an academic perspective, see See “The Concept of Space in Twentieth Century Art” by Amy Ione and Christopher Tyler here.

Evocative abstraction using primarily blue and white, with touches of other colors on canvas board.
Continue reading “Perceptual Study in Blue and White (2003)”

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 composition, created with an airbrush and templates, operates in a liminal zone between abstraction and suggestion. This zone, combined with Untitled 33940‘s colors, evokes cosmic, cellular, or even embryonic origins without anchoring the viewer to any single narrative. In other words, ambiguity is central to this small work’s power, which is built around and reinforced by a constellation of softly luminous spheres, some sharply outlined, others dissolving into mist. Continue reading “Untitled 33940 (2023)”

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)”

Exquisite hand painted greeting card is a perceptual study. Painted with ink and watercolor on white Strathmore 140-lb acid free paper Continue reading “Space Study #11 (2013)”

Alchemical Rending is an evocative composition that explores the intersection of geometry, symbolism, and perceptual inquiry through a tightly composed and meticulously executed ink drawing. The work features a central circular form layered with radial lines, checkerboard textures, and a pyramid-like structure, surrounded by concentric ellipses and rectilinear segments. This central motif is reminiscent of an alchemical diagram, thus the name. Here the central form serves to anchor the composition in a space where perception, pattern, and meaning interlace. Continue reading “Alchemical Rendering #1 (1981)”

This drawing/painting was also known at Plato’s Cave when created. Like many artists, at that time I thought Plato was talking about artistic creativity when he introduced the Allegory of the Cave in the Republic. I removed the Plato reference when I realized that he had actually banned the artists from his Republic, disdaining their ability to convince people that mere “illusions,” were actually the Truth.
Continue reading “The Artist as Creator #1 (Plato’s Cave)”

Amy Ione
Title: Percept: Space Study, #3
Date: 2002
Medium: Oil on canvas
Dimensions: 14x10x0.75 inches
Unsigned
Catalog Number: 25780

Based on the San Francisco Bay Bridge design, this diluted acrylic and ink piece was created on 300lb archival watercolor paper.