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CHAMELEONS, 1976 - 1978

I look for structural clarity with the colour brush marks as they settle in cross-layered formations.

A thirty-inch square canvas seemed a compatible match for the stretch of my working arm while seated on the floor at a low bench. A small Chinese calligraphy brush with flexible and robust hairs was the brush of choice for direct contact of liquid paint to the canvas surface. Colour contrast and directional variance from layer to layer of  brush marks and their spacing can set up a subtle optical rhythm through the colour field.


This is where it all began . . .

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