Early December

I am reworking painting number two. Painting one is warming up with the help of burnt sienna. I must now construct two new panels for paintings three and four. After many technical problems and compositional deviations I believe that at long last I am beginning to paint with confidence in this new and important work. I am confident that this new series is original and not derivative.

Middle November

I have just completely rubbed out painting number two.

Early November

Refining paintings 1 and 2. Painting 3 is on hold until I can resolve these first two works. It is fair to say that the mental work for painting 3 is done and I have already bought the paints.

Later October

I am very pleased with painting number two. My tones are rich and luminous, my edge is sublime, the central portion is developing while the edges are established. A captivating female form appeared in the center and many of us enjoyed it before I had to rub it out as I am fighting the figurative, strange how form always tries to work its way into the abstract.

Late October

I am on painting number two. A bit behind the optimal schedule but then again I'm doing something new and what you want to do has something to do with how you do it. There is a learning curve.

New Direction

I have made the decision to move ahead, rather than backwards. I will be working now in the pure abstract. I will be thinking of course on Mark Rothko, J M W Turner, Brice Marden, Barnett Newman. With a new direction...moving into the deep end of the pool a real artist statement is required so be patient as it will come. I can say this, the work is intended to be the polar opposite of my previous series. Willem de Kooning had this observation: " one must change to say the same". This new work is about the non-corporeal or spiritual. Can I as an artist succeed in causing a transformation in my viewer without the figurative or representational form? Can I still create a painting that captivates and intrigues my viewer and is sublime rather than vulgar. Can I play with value and tone to create depth and dimension? Can I create art that my viewer responds to in a emotional state and yet cannot explain why? This is the work I have set upon.

Well maybe....

Okay, so I might do some Rothko stuff.