The Huyck

Two framed 'windows' are intersected by an orange bar rooted to the floor and extended beyond the picture plane. An oil based, red, waxy field of color is paired with an acrylic drawing of entangled black lines on a grey background. Contact is found in the triple conjunction between contrasting elements that are combined for no other reason than to experience how separate parts restore memories that give the impression of a foundation, depth and dimension.

A solid gilded beam leans against a loosely-hung two dimensional landscape on linen. Secured between the wall and floor, the gold bar appears to hover over the image. Light becomes a mysterious object that climbs up the wall and exceeds the limitations of the painting. Motionless and conspicuous, it stands guard and lends support to the moment when what lies buried in the painting becomes apparent.

Occasionally, a fragment from a different period of time will detach itself and be transported to the present. A stencil of a shadow cast by a prominent black bar rimmed with a thin blue line, stands in front of a painting the color of 'mental' soil. Different periods are linked with many other incidents along the way and sudden reverses transverse all the successive years that have vanished.

Painterly touches become a sublimate trail with its with its own logic. A brand new path is forged through a thematically unified series.

In the search for different ways of looking at things, decisions are based on feelings as well as logic. The trail is translated into visual terms that gives way to variations at once minimal and significant.

Threads appear in the name of the cloth, cutting across structured solutions and undermining within and without. Compositional volumes and chromatic refinements are conjured up in the dark curtains of conventional space.

To do, to act, to react, is a tug of war. Conventions of painting disturbed by edits and cuts play by the rules and break the rules, at the same time. An escape route breaks-off.

A fragment will detach itself and be isolated from all associations to become a second body/shadow self.

The shadow betrays a dual personality heading toward a non-mechanical reality. Diagonals reference different ways of looking at paintings, cutting across solutions and the relaxation of rigid controls systems,

An imageless beam prods remembrances to manifest pictures that look more like thoughts than things.

Prison house of duality: Inner protection, errors and interpolation. No barrier exists.

A throbbing stream, a play within a play. A shadow of parallel themes.

The sun was hidden. We crossed in successive stages in combination with light and shade. The most superficial expression can provide a model for concrete ideological struggle.

Stage 3: Vision of violent contrasts. Vague space and diffused light cut-through by an existential axis that casts no shadows.

A thick, blank, black, line straddles above and below, casting shades of darkness into rectangular shapes.

The interval of forgetting is subject to the material secreted in the paint. A sideline drives into the distance.

A diagonal path cuts through and surpasses narrow, domestic walls.

Intervention, torn from another chapter.

Memory calls back submerged thoughts that disrupt the history of the painting. Past actions take different paths and carve out new directions.

A dark gash supersedes its parameters. There is hardly a ripple between spurious passage, cleavage and counterparts.

Diverted hours:. A genealogical approach to forms and their dialogue across time.

A vertical patch dissects Idyl of Pink and blocks the flow of time.