Much later, as an adult, I was again struck by art in the playfulness of Alexander Calder\u2019s mobiles\u2026.what sheer joy and delight !<\/em><\/p>\n Then came Richard Diebenkorn. At first I was angered and frustrated by his mysterious veils of color. Over time I came to deeply love his understated richness and inventiveness.<\/em><\/p>\n More recently Robert Motherwell and his \u201cElegy for the Spanish Republic\u201d series has begun to resonate. His monumental structuring of space moves me in yet another way.<\/em> And so it goes\u2026 this varied mix of influences (along with others of course) are still with me… taking turns moving me, inspiring and challenging me.<\/em><\/p>\n I recently began to re-visit these primary influences in my studio, something I have resisted for some time. It\u2019s a kind of re-integration, a necessary part of growth I suspect.<\/em> A common visual language these artists share is the primacy of elemental geometric shapes, however loosely rendered. I think of the geometric planes of Diebenkorn\u2019s\u00a0 \u201cOcean Park\u201d series; of the ovals and circles of Calder and Motherwell; or of Nagy\u2019s clean straight lines and triangles.<\/em><\/p>\n An element I bring to all of this is rhythm. I am a drummer, and rhythm is the elemental role I play. Clearly, rhythm has found it\u2019s way into my art as well.<\/em><\/p>\n \u2026\u2026\u2026\u2026.<\/em><\/p>\n What you see in this show is the evidence of my reconnecting to early influences. I\u2019m working towards\/through something. Not certain where this will lead, but I do feel the path is true.”<\/em><\/p>\n
\n \u2026\u2026\u2026.<\/em><\/p>\n
\n \u2026\u2026\u2026\u2026.<\/em><\/p>\n
<\/a><\/div>\n\n","protected":false},"excerpt":{"rendered":"