I have a modernist interest in the play of color and form, which manifests itself in a non-referential geometric abstraction. I enjoy structuring figure/ground relationships and exploring the push-pull of shapes
in the space within the edges of the rectangle.
Saturated flat color fields are layered and shuffled in degrees of reveal to float above or recede beneath 
the picture plane. As in the turning of a puzzle piece or the shifting surface of collage, 
I enjoy putting things together.
While the work is formally intuitive, it is calculated in its design and plotting, playing juxtaposed elements
and relational situations against one another in the layering and building of the planar surfaces. 
This is the continuation of a utopian fascination with color as form that began in my childhood.
Many influences have been at work, although no single reference is immediate. 
I am directly influenced by nothing, yet I feed on everything: Renaissance ornament; the symbols and forms
of medieval heraldry; Kandinsky’s pioneering abstraction; the experiments in kinetic flat space of the Russian avant-garde; Sophie Taeuber-Arps’s ground-breaking inventiveness; Ben Nicholson’s reliefs; 
Sol LeWitt’s systems; Ellsworth Kelly’s accurate purity; Elizabeth Murray’s bold play; Agnes Martin’s dedication to the transcendent power of beauty  -  and always color.


Hans Hofmann:
Monumentality is an affair of relativity.
The truly monumental can only come about by means of the most exact and refined relation between parts. Since each thing carries both a meaning of its own and an associated meaning in relation to something else  –  its essential value is relative. We speak of the mood we experience when looking at a landscape. This mood results from the relation of certain things rather than from their separate actualities. This is because objects do not in themselves possess the total effect they give when interrelated.
* his quote on monumentality by expressing relation, by Hans Hofmann; source of his artist quote, in "Search for the Real and other Essays", Addison Gallery of Modern Art, 1948, pp. 66, 68.
Robert Motherwell asking Hofmann: 
'Would you say that a fair statement of your position (in painting) is that the meaning of a work of art consists
of the relations among the elements, and not the elements themselves?'
Hofmann: 'Yes, that I would definitely say......it is all relation'.
Hans Hofmann explains his painting art as created pictures of relations (between the visual elements, fh) in an interview with Motherwell, source of his artist quote on modern painting art  "Modern Artists in America" 
First Series, R. Motherwell, Ad Reinhardt and B. Karpel eds., 1952 pp. 19, 39.
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