Poetry of Falling
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The actual or implied horizon line in a landscape anchors the viewer to the ground and as such is comforting. All things are in place. The landscape paintings I did about the Everglades were static in that grounding. That single element allowed a response to painting to be about memory. I wanted less of that and more about the speculation of where the viewer stands. I removed the horizon from my paintings and started working vertically on gessoed paper. The absence of a horizon allowed gravity to be the impeller in the painting. Everything was structured downward in a descending cascade of marks. Color and marks worked together to suggest light without form.
 Tarquinia(2000) |
 Suspension(1997) |