Urban Forms & Non Representational Art
Slide shows offer a partial selection of my artwork with provision to purchase high quality Giclee canvas prints.
This energetic canvas announces itself as a work in perpetual motion — a swirling, layered composition that pulls the eye in multiple directions simultaneously, yet never loses its internal coherence. Painted on a white-framed canvas and photographed in situ, the work belongs to the grand tradition of gestural abstraction, yet carries a distinctly personal visual vocabulary. From the cool, atmospheric blues and sage greens of the upper register to the warmer, earthier tones that anchor the lower half, the painting maps an emotional landscape as much as a visual one.
The brushwork is the true protagonist here. Bold, sweeping arcs of white cut through the composition like calligraphy, lending the piece a sense of urgency and spontaneity that feels hard-won rather than accidental. Vertical forms — dark, reed-like strokes — rise from the lower depths while curved lines orbit a loosely defined central mass, creating a tension between the upward and the circular, between aspiration and containment. Scattered accents of crimson and blush pink punctuate the composition like heartbeats, small but insistent, refusing to be swallowed by the surrounding cool palette.
What distinguishes this work is its remarkable sense of layered time — the feeling that the painting was built through many sessions of dialogue between artist and canvas, each mark responding to the last. There is no single entry point; the viewer’s eye is invited to wander, discover, and return. It is the kind of abstract painting that rewards patience, revealing new relationships between forms and colors with each viewing — a living, breathing record of creative process transformed into enduring art.
There is an immediate, almost confrontational vitality to this canvas — a face, or perhaps many faces, locked in a state of dynamic becoming. The work sits confidently within the lineage of Cubist-inspired figurative abstraction, yet pulses with a raw, street-art energy that feels entirely contemporary. Against a deep, moody ground of steel blues and teal, the artist has constructed a portrait that fractures and reassembles the human visage across the picture plane, as though catching a face mid-transformation, seen from multiple vantage points at once.
The linework is the unmistakable heartbeat of this piece. Thick, sinuous strokes of burnt orange and terracotta coil and branch across the canvas like living circuitry, simultaneously defining and dissolving the features they describe. Three eyes — displaced, watchful, and hauntingly expressive — anchor the composition at different registers, each one a focal point that refuses to yield its authority to the others. This multiplication of the gaze is no accident; it speaks to the idea of a self observed from within and without, a consciousness aware of its own complexity. Flashes of pink, ivory, and olive green emerge from beneath the dominant warm strokes, adding depth and suggesting layers of history beneath the surface.
What makes this painting genuinely memorable is its controlled ferocity. The marks are bold and gestural, yet the underlying architecture is deliberate — arcs, spirals, and angular forms create a scaffolding that keeps the composition from tipping into chaos. It is a painting that seems to think as it moves, channeling the fractured, overlapping nature of human perception into a single charged image. Visceral, intelligent, and impossible to pass without pausing — this is figurative abstraction at its most alive.
To stand before this canvas is to be pulled into a world of extraordinary density and invention — a teeming, joyful universe where abstraction and symbolism coexist in a state of perpetual, exhilarating dialogue. The painting operates at a scale of complexity that rewards extended looking, each new area of the canvas revealing fresh detail: a watchful eye nestled within a spiral, ghostly figurines standing at quiet attention on the left, architectural fragments suggesting cities or machines, and golden leaf accents in the upper corner that shimmer like memory catching the light. This is a work of remarkable ambition, built layer by patient layer into something genuinely world-like.
The color orchestration is nothing short of virtuosic. The upper register blazes with warm golds, pinks, and terracottas — a luminous, almost celestial zone — while the lower half cools into blues, greens, and deep purples, grounding the composition in something more earthly and intricate. Between these two worlds, the artist weaves a network of sinuous lines, spiraling forms, and interlocking geometric fragments that function like a visual nervous system connecting everything. Three disembodied eyes appear at different points across the canvas, each one a quiet sentinel, suggesting that this world is not only inhabited but aware — watching, processing, dreaming.
What sets this painting apart is its rare fusion of the playful and the profound. On the surface it delights — the colors sing, the forms dance, the details enchant. But beneath that celebratory surface runs a deeper current of meaning: the sense of a mind mapping its own interior, charting the strange and beautiful territory where imagination, memory, and perception overlap. It is the kind of painting that could hang in a room for years and continue to offer new conversations — a living document of an artist fully immersed in the act of creation.