The paintings done in Los Angeles were on a scale dictated by my height and wingspan. This gave them a certain physicality that the smaller paintings did not have. The newer paintings in the 90’s used a similar painting technique but relied on an application, then cancellation, of the painted marks. By building the surface in this way "impressions" emerged from the chaos of the process which were again oddly resonant for me.
Images came in and out of focus, reminiscent of the simultaneous dimensions of the Brewery paintings but with the added dimension of time. Light became incandescent. I eventually abandoned the primary colors to focus on the element of simultaneous space/time. The blackness created a void from which elements would materialize and disappear. When most successful the "composition" was created by the process. Still I was not convinced that the emerging lexicon of forms were truly "memories" or simply personal visual devices. This work was interrupted by a six year teaching stint in Morocco and would not be taken up again until a subsequent move to Mumbai, India.
These paintings were made in Alameda, CA which is a small man-made island adjacent to Oakland.
