When did you veer into this geometrical style?
Actually, this style is a rebirth of my original geometric abstract style that had no name nor limitations. In this style, I am limiting myself to only geometric shapes on the 30, 60 and 90 degree angle with a limited palette. In the title above, I have taken the style to super size it with dramatic effect, from a white center to pinks to reds to browns to black. This is a change from earlier works where there is no focal point in the painting.
What other work led up to this style?
One earlier work was “Implosion in the Capital”. This was my very first large version of this Architectural Abstraction. In this painting, the angles feel more like they are fighting each other over the direction of the painting. The viewer is drawn along the painting up hills and down steep drops throughout.
In my painting “Battle of Boyne” there is a huge complexity to the painting with multiple angles and directions at once without the exact focal point known. This is typical of my earlier work where there is generally no focus, while the shapes fight amongst themselves for primacy.
In “Tribute of Two Trout 1/4”, I have a reduced size of only 8×8 and a few colors. This style has more line work since it is more doable at this level. Once you scale up to a certain size you transition to larger line to keep the dramatic effect. Again, you can see a series of triangles at war in the middle of who will dominate.
Did you have any other artist influence you in this style?
Yes, I went to see a show at the Whitewalls Gallery in San Francisco and saw the work of Augustine Kofie. He came up via classic graffiti writing as a teen and later evolved to geometric shapes in his graffiti before moving to complete abstraction in fine art versions. Below you have a sample of his work “Amiguous Reform no. 2” at a large 122×122 inches.
Originally, I started to incorporate similar circles into my work, but have not yet perfected the quality at the same level. His unusual feel of perspective is very attractive in his work. His colors are very subtle and have an instant chill feel to his work. Once I saw his show, I tried to install much more discipline into my own work as well as using a similar splatter effect. Although many artists, especially graffiti-based artists have this splatter technique. Hopefully, I will get to his quality soon.
Another artist that had a huge impact on learning how to use tape in painting at all was Tom Thomas, my late art professor at Indiana University East. Unfortunately, most of his work was out in the market before digital photos, so they are hard to find out there.
Where can I purchase these works?
Check my Architectural Abstraction - Paintings section