Imagekind Gallery linearity

eye on you

linear effects end up in a circular whole.

wild ride

I call this "Wild Ride" because it took me for a ride. I ended up with a lot of white space and the feeling of movement along the center black line. I had a large print made for Suffolk University, where I taught for 26 years, and it made a much greater impression in that size than it had in small.

train 1

This is my version of The Little Engine That Could! The linear underpinnings of the "train" are in the gray middle of the painting.

u 54

I dida bunch of untitled (u) sketches based on angles and abrupt color shifts. This is primarily a geometric work, with some emergent faces and "creatures," if you look for them.

u 43

Another from the untitled series where the angles created by wavy lines occupy center stage. You can see faces (if you choose to): notably the green lined shapes on the bottom.

ladder 14

An abstract version of fire-fighting, this actually follows "ladder 15."

all fire

Although not deliberately or clearly representational, there are two small figures on the bottom center who await in a cave for the passing of an ominous storm outside. That's my take on it, but the interpretation is up for grabs. I did intend to set a mood, but the actual content is not so evident.

ladder 33

The title comes from my originally intending to depict the chaos of a fire. The painting took on a life of its own and it's hard to see the origins. It's one of a series of "ladder" paintings.

bus stop at 11

A very simple conception of a community -- below the wavy line at the bottom of the page -- and an environment. This comes from the Community gallery theme, but it landed here because of its Paint program input. Its negative image is also on this gallery.

bus stop at nite

This is the negative image of "Bus stop at 11," also on the gallery. It has a simple conception. I set out to sketch a wavy line close to the bottom of the page and give the impression of a community (this could just as well have gone into the community gallery). The rest is a free form "environment," and a threatening one at that.

fire under way

Here is a painting that just grew on its own; the title is arbitrary.

rain all day

A cousin of "Rain," this painting attempts to convey a dramatic mood with its abrupt changes and juxtaposition of colors. Faces and bodies also emerge: I see an angry orange face on the left tolp and a submissive purple creature below the black under the orange.

fire

When using certain effects, the creatures that come out in "fire" from their linear origins take on an unusual texture. This could eaqually well be in the Cellular gallery.

abode

Here the linear underpinnings are smudged over to give more space for figures to emerge.

all smoke

a blending of colors and shapes designed to have a palpable texture, this painting, although abstract, is notable for its initially hidden, but accessible faces that emerge: for example, the purple one on the top right and the two brown ones in the bottom left corner.

ladder 44

Another of my fire-fighting paintings, this relies on the interplay of two computer programs to produce both the vivid solid colors and the lighter somrwhat mottled ones.

ladder 15

I mixed negative images in certain sections with positive (original) colors. The neon pink to the right thus becomes neon green on the left with this maneuver. Also, the orange figure on the right in the black was originally blue in a basically white space. I like interspersing positive and negative sections within the same painting. For some reason, I think of this as an abstract picture of a fire fighting unit.

sunny

The blue-green face in the center vies with the yellow creature (circle for a face) and the black figure to the right.

rain

The key here is the composition: the balance between shape and color, in terms of placement, movement, and texture.

summer

Here, the initiating lines are still present on the right and bottom in orange. Swirling above in the green you can discern flying figures emanating from the original lines.

slaphappy

There are a bunch of white shapes that represent human form, obviously not realistically, but nonetheless more discernable than in many other works. They sedem to be dancing except for the two on the left.