Mono (Chromatic) Lisa 013 Painting

The substrate for these studies is Stonehenge 100% cotton paper. I purchase the paper in 22 x 30-inch full sheets, which are made with natural deckled edges on their 30-inch sides. I then divide (carefully tear, never cut) each full sheet into four 11 x 15-inch sections. As a result, each of these 11 x 15-inch paintings has a deckled edge on only one of its 15-inch sides – either left or right – depending on how I picked up the paper before working on it. See how I personally prefer to have these color studies “floated” and framed via the Arthouse 429 Gallery video: https://www.youtube.com/watch?v=dL7u09ekZ4M These originals (offered only through Saatchi Art) reflect my most recent subject matter, which is briefly described as follows. For starters, simply categorizing my images can become problematic. Using the label abstract seems appropriate at first, I agree; but in reality, that label is still associated with its original definition. It represents our attempt to classify an image that doesn’t “exist naturally” in the world. The label is also used to identify an image that’s been distorted and therefore doesn’t perfectly match other entities in nature. Contrary to the definition of an abstraction, my images have now firmly secured their natural place in reality. They’ve established their existence in a very natural way too – through the gesture of hominin expression. Each can therefore be conceived as being decisively real and accurate. Perhaps they are unrecognizable at first; but they’re really not abstract in the strictest sense. As you probably realize too, my images were never made to match or even reference other detectables in nature, and for good reason. Bottom line? My visual experiments contain no distortions. They are as precise and real as you see them here. More importantly, they definitively represent their own obviousness, particularly as they now exist as natural things in the world – genuine things that we identify now as images.