Contrasting layers of colour brush marks were applied within a grid of eight-by-eight squares. Slight overlaps of colour marks at the edges of the squares expose the divisions. Each spread of colour was completed at one sitting without correction or adjustment. A contrasting set of colour layers in the central four squares continues the structural integrity of the whole, while strengthening the depth dimension for optimum viewing.
When I placed one of these paintings on the wall and stepped back to assess balance through the density of colours, I could sense subtle adjustments spreading through my body.
If colour marks and their spacing are linked consistently throughout construction, the viewing experience can be shared as a direct, sensory engagement.
Travelling in Greece in 1979, I was intrigued by the simplicity in surface detail and core vitality of the archaic kore and kouros figures. I believe these marble sculptures are made with an understanding of balance in symmetry and asymmetry that is geometric in origin.