1980’s

Oscillation Series- mid-70’s to 1980

In the Oscillations Series. I use blocks of oil pastel color on rice paper panels to make procedural drawings whose order can be “decoded” by the viewer. I composed sequences out of components, playing with order and generating sequences of colored squares that could replicate indefinitely. Pattern is employed, not as decoration, but as a method of coding visual information.

Each panel is a line sequence whose order shifts, mutating from top to bottom. Panels are pieced together generating larger sequences which vary in length and size. These pieces comprised installations wrapping around gallery walls. For a project at 80 Langton Street, I painted a sequence on the sidewalk going around the block. Exhibited in San Francisco and Tokyo, these works resemble genetic sequencing or computer code, which was not my intention at the time.

A.I. Series - mid-80’s

In the Artifical Intelligence series, I juxtapose magnified circuit boards, satellite imagery and fractal geometry to reveal surprising geometric similarities. Generating fractal geometry with an early graphics program. I juxtapose its digital effects against enlarged elements from micro-computing and tribal motifs, implying a correspondance – that pattern is a vehicle for “information”. Juxtaposing disparate images, I piece them together to form a resonant whole on panels of wood or paper employing photosilkscreen, gouache, watercolor and acrylic.

Attractors- late 80’s

In the Attractors Series I use the dramatic space and perspective of fractal geometry, combining ambiguous scales with digital effects and enhanced color. I employ both the hand and mechanical means to render images. 

Painted on wood panels, the thickness and texture of paint is emphasized by matte flasche, gloss oil paint, acrylic and metallic photosilkscreen. Juxtaposing tribal motifs, circuit imagery and a digitally-based geometry into different totemic formats, I infer an emerging digital culture.