Acrylic on wood, 40 x 48, 2023
Acrylic on wood, 36 x 48, 2023
Acrylic on wood, 22 3/4 x 27 3/4, 2023
Acrylic on wood, 48 x 36, 2023
Acrylic on wood, 48 x 40, 2023
Acrylic on wood, 36 x 36, 2023
19 x 38, acrylic on wood, 2024
acrylic and aerosol color on wood, 48 x 60, 2024
Acrylic on wood, 36 1/2 x 40, 2024
Acrylic on wood pieces, 36 x 29 3/4, 2024
Acrylic on wood pieces, 42 x 42, 2024
Acrylic on wood pieces, 29 x 26 3/4, 2024
Acrylic on wood pieces, 27 3/4 x 24, 2024
This series evolved from a small sketch that I had done on wood several years ago. The sketch resurfaced about three years ago while cleaning my studio and prompted me to see if I could define a location with a limited amount of visual information. These paintings portray places that are real or imagined by using color, design and a binary language of straight and slanted lines that are cut into wood strips and assembled much like a puzzle. I choose specific details in each place and combine them to create an abstract impression of what I have encountered.
When we look at a place we instinctually think of who or what lives there, what goes on there, where is it and finally how is it relevant to us? These thoughts along with memory are embedded in this work. Paintings like The Meadows and The Corner Store, South Glastonbury are biographical and refer to growing up in a small town. Blue Window, Greenwich and Origin reference the work by other artists. Paintings titled East End, Waterfront and The New Barn depict scenes that I often experience in both urban and rural locations. The Museum of Famous Pictures acknowledges my career as a museum worker but also hints back to my hazy memory of visiting the Met with my mother during the rare Mona Lisa visit in 1963.
As this body of work evolves these assembled paintings have become more complex in construction but also more revealing in their content.
Acrylic and aerosol color on slotted wood, 16 x 12 1/2 x 1 1/2, 2021
Acrylic and aerosol color on slotted wood, 16 x 16 1/2 x 1 1/2, 2021
Acrylic and aerosol color on slotted wood, 20 x 20 x 1, 2021
Acrylic and aerosol color on slotted wood, 21 1/2 x 21 1/2 x 1 1/4, 2021
Acrylic and aerosol color on slotted wood, 18 1/2 x 17 1/2 x 1 5/8, 2021
Acrylic and aerosol color on slotted wood, 14 1/2 x 15 1/2 x 1 1/2, 2021
Aerosol color on slotted wood, 24 x 23 x 1, 2021
Private Collection
Acrylic and aerosol color on slotted wood, 11 x 10 x 1 3/8, 2021
Acrylic and aerosol color on slotted wood, 11 x 10 1/2 x 1 3/8, 2021
Acrylic and aerosol color on slotted wood, 18 x 20 x 1 5/8, 2021
Aerosol color and oil on wood, 30 1/2 x 14 1/2 x 1 3/4, 2021
Aerosol and acrylic on wood, 57 x 18 x 1 1/4, 2022
Acrylic and aerosol on wood, 26 x 38 x 1 1/4, 2022
Acrylic and ink on wood, 23 x 43 1/2, 1 1/4, 2022
Acrylic and aerosol color on wood, 26 x 39 x 1 1/2, 2022
Acrylic and ink on wood, 21 1/4 x 21 1/4 x 1 1/4, 2022
Acrylic on wood, 40 x 71 x 1 3/4, 2022
Acrylic and ink on wood, 57 1/2 x 44 1/4 x 2, 2022
Mixed media on wood, 20 x 59 1/2 x 1 3/4, 2022
Aerosol color and acrylic on wood, 25 1/2 x 23 3/4 x 1 5/8, 2022
Aerosol color, acrylic, water based printing ink oil stain on wood, 25 x 34 1/4 x 1 1/2, 2022
Ink and aerosol color with composition leaf on wood, 35 1/2 x 48 x 2, 2022
Acrylic and aerosol color on wood, 48 x 36 x 2, 2022
Acrylic and aerosol color on wood, 40 x 40 x 1 1/2, 2022
Acrylic and aerosol color on wood, 36 x 48, 2023
Acrylic and aerosol color on wood, 40 x 48, 2023
Acrylic and aerosol color on wood, 48 x 36, 2023
The works in Aftermath furthers the techniques of painting that were developed in the Pandemic series. The individually painted segments are intertwined and overlapped to produce a chaotic balance of color and form.
Aerosol color on latex over polyester on gessoed panel, 23 x 23, 2020
Private Collection
Aerosol color on latex over polyester on wall paper over panel, 25 1/2 x 21 1/2, 2020
Aerosol color on latex over polyester on cotton canvas over panel, 24 x 20, 2020
Aerosol color on latex over polyester with collage, 15 x 15, 2020
Aerosol color on latex over polyester with collage, 15 x 15, 2020
Aerosol color on latex over polyester with collage, 15 x 15, 2020
Aerosol color on latex over polyester on gessoed panel with frame, 25 x 19, 2021
Aerosol color on latex over polyester on gessoed panel with frame, 25 x 19, 2021
Aerosol color on latex over polyester on gessoed panel, 28 x 24, 2021
Aerosol color on latex over polyester on gessoed panel, 21 1/2 x 17 1/2, 2021
Aerosol color on latex over polyester on gessoed panel, 27 1/2 x 24, 2021
Aerosol color on latex over polyester on gessoed panel, 24 x 20, 2021
Aerosol color on latex over polyester on gessoed panel, 20 x 17 1/2, 2021
Aerosol color on latex over polyester on gessoed panel, 22 x 18, 2021
Aerosol color on latex over polyester on gessoed panel, 20 x 18, 2021
Aerosol color on latex over polyester on gessoed panel, 24 x 23, 2021
Aerosol color on latex over polyester on gessoed panel, 28 x 24, 2021
Aerosol color on latex over polyester on gessoed panel, 29 3/4 x 24, 2021
Aerosol color on latex over polyester on gessoed panel, 27 1/2 x 24, 2021
Aerosol color on latex over polyester on gessoed panel, 23 1/2 x 28, 2021
Private Collection
Aerosol color on latex over polyester with collage on gessoed panel, 24 x 28 1/2, 2021
Aerosol color on latex over polyester with collage on curved panel,20 1/2 x 22 x 2, 2021
Aerosol color on latex over polyester with collage on gessoed panel, 28 1/2 x 24 1/2, 2021
Private Collection
Aerosol color on latex over polyester on curved panel, 22 x 22 x 2, 2021
The work in this series began in March of this year with the process of exploring different ways to paint. Weeks of experimenting resulted in the method of pouring latex paint on to mylar then spraying paint through multiple stencils creating a variety of patterns on the poured forms. I was very excited by this outcome and I began to make several of these shapes. Looking at a table full of these little paintings I could see relationships form between different pieces and I began to think of them as organic, living entities with individual personalities. The fluid little shapes of poured latex paint could be seen as a cell from a fictitious virus but to me they became figurative and gestural. I started laying out these shapes in groups and they resembled crowds wearing bright colored patterns. This is when the pandemic and it’s effects fully entered the intent of my work. I now had a new method of painting that was capable of reflecting my thoughts about the current social and political environment in this country. I want these paintings to remind us that we are all unique in our appearance but are all made from the same stuff.
Gesso prints with latex enamel on black acrylic sheet, 63 x 63, 2020
Gesso prints with latex enamel on black acrylic sheet, 31 x 31, 2020
Mixed media on panel, 10 x 11, 2020
Mixed media on black acrylic sheet, 15 x 15, 2020
Mixed media on mat board, 18 x 16, 2020. In collaboration with Jody Henderson.
Mixed media on mat board, 18 x 16, 2020. In collaboration with Jody Henderson.
Mixed media on gessoed mat board, 14 x 14, 2020
Mixed media on gessoed mat board, 14 x 14, 2020
Mixed media on mat board, 14 x 14, 2020
Mixed media on gessoed mat board, 14 x 14, 2020
Mixed media on panel, 28 x 24, 2020
Mixed media on panels, 24 x 146, 2020
Mixed media on Gatorboard and panel, 26 x 24, 2020
This series of drawings and collages is directly related to the mechanical drawings that are in the Patent books that belonged to my Grandfather. he was a patent lawyer in New York in the first half of the 20th Century. I am attracted to the detailed lines and the different calligraphy used by the draughtsmen in his office.
Ink and pearlescent acrylic on canvas over panel. 29 x 23. 2017
Ink and latex on wood panels. 24 x 41 x 1 1/2. 2017
Private Collection
Ink on latex on panel. 46 x 43 x 1 1/2. 2017
Ink on Dacron sail with rope and grommets. 95 x 185. 2017
Ink on Dacron sail, 66 x 125, 2017
Ink on Dacron sail, 48 x 36, 2018
Collage and Color Aid on mat board. 14 x 11. 2017
Collage and Color Aid on mat board. 14 x 11. 2017
Collage and Color Aid on Mat board. 14 x 11. 2017
Ink on Mylar with collage. 14 x 11. 2018
Ink on Mylar with collage. 14 x 11. 2018
Ink on mylar with collage, 14 x 11, 2018
Ink on Mylar with collage. 14 x 11. 2018
Ink on mylar with collage, 14 x 11, 2018
Ink on mylar with collage, 14 x 11, 2018
Ink on mylar with collage, 14 x 11, 2018
Wood burnings on panels. Dimensions variable. 2018
Wood burnings on panels. 49 x 49. 2018
Wood burnings and Gesso on wood panel. 18 x 18. 2018
Wood burning and Gesso on wood panel. 18 x 18. 2018.
Wood burning and Gesso on wood panel. 18 x 18. 2018.
Ink on gesso over acrylic on canvas over panel, 44 x 44, 2019
Ink on gesso over acrylic on canvas over panel, 44 x 44, 2019
Ink on gesso over acrylic on canvas over panel, 44 x 44, 2019
Ink on gesso over acrylic on canvas over panel, 44 x 44, 2019
Ink on mylar between acrylic sheets, 14 x 39, 2018
Ink on gesso with graphite on canvas, 86 x 60, 2019
Ink on acrylic sheet on table, 2019
There are many ways to remember someone. In this series I look at the ways that my grandfathers influenced my creative life. My father’s father Robert (Rob) Henderson and my mother’s father Cornelius (Corny) Zabriskie both had an impact on my early life in different ways but here I am focused on my visual memories.Corny gave me my first drawing lesson on perspective. He was a patent lawyer and I have used segments from some of his patent books in my Patent series. The family crest that is seen in this work was designed by Corny and not earned by royal decree. Corny was also an avid wood worker and has made some beautifully simple furniture. I have inherited some of his tools that I use to this day. Rob was a scholar and became the head of the main reading room in the New York Public Library. He wrote a book entitled Ball, Bat and Bishop, the Origin of Ball Games. He was an excellent chess player and he tried to teach me the game at an early age. I never really got the hang of it but I always enjoyed hanging out on his porch in the summer with him.
Graphite rubbing with Color-Aid on mylar with map, 25 x 17, 2017
Graphite rubbing with colored pencil, Color-Aid and map, 16 x 12, 2017
Water-based ink on paper 23 1/2 x 23 1/2 2017
Water based ink on mylar, 26 1/2 x 23, 2017
Graphite rubbing with watercolor, 23 1/2 x 18, 2017
Water based ink on mylar, 35 x 35, 2017
Water based ink on nylon, 25 x 24, 2017
vinyl lettering and graphite rubbing on paper
These panel paintings begin with two layers of colored gesso. Then several layers of red pearlescent Acrylic are brushed on and scraped off to leave a smooth surface. The backgrounds serve to give the paintings texture but also push the designs toward the viewer. The initial influence for these paintings come from looking at the work by Piet Mondrian and then expanding the palette and building structures with the designs.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 26x26. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 26x29 3/4. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 26x26. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 26x29 3/4. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 26x29 3/4. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 26x28. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 29 3/4 x 29 3/4. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 26x29 3/4. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 18x18. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 18x18. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 13x13. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 13x13. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 13x13. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 13x13. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 11 x 11. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 11x11. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood.11 x 11. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 11x11. 2014.
Pearlescent acrylic, acrylic and colored gesso on canvas mounted on wood. 11x11. 2014.
The idea of painting with Acrylic paint on sheets of Acrylic that were slightly separated by clear vinyl spacers was to give color and line a tangible existence. The upper bands of color cast shadows on the lower level and both levels cast shadows on the walls.
Acrylic on Acrylic sheet over Acrylic on wood panel. 31x31. 2009
Private Collection
Acrylic on Acrylic sheet in two layers. 45x34. 2009
Acrylic on Acrylic sheet over Acrylic on wood panel. 53x22x2. 2009
Private Collection
Acrylic on Acrylic sheet on two layers. 69x69. 2009
Acrylic on Acrylic sheet on two layers. 38x19. 2009
One of the techniques that I use for printing is to ink up a dapping block and press it on to handmade paper. The dapping block belongs to my daughter who is a jeweler. The block is used to produce small forms in sheets of metal. Combining the resulting images from all six sides can resemble an overview of massive architectural structures. Other prints include collage elements to animate the flat structural imagery. The Homage to Anni prints are wood block prints and served as studies to the finished painting that can be seen in the Acrylic on Acrylic gallery. The homage is to Anni Albers.
Dapping block prints on handmade paper. 37x25. 2013
Dapping block prints and collage on sanded Acrylic surface on paper. 29 1/2 x 20 3/4. 2014.
Dapping block prints and collage on sanded Acrylic surface on paper. 29 1/2 x 20 3/4. 2014.
Dapping block prints on handmade paper. 37x25. 2013
Tool prints and collage on paper. Each 22x14. 2014
Wood block prints on handmade paper. 26x26. 2009
Wood block prints on handmade paper. 26x26. 2009
Wood block prints on handmade paper. 26x26. 2009
Wood block print on paper. 13x13 framed with Corplast mat. 2010
Wood block print on paper. 13x13 framed with Corplast mat. 2010
Wood block print on paper. 13x13 framed with Corplast mat. 2010
I often store completed work in boxes that I make from repurposed Foamcor and Gatorboard. The designs in these Box Art works are similar to those in my panel paintings.
The notion of containing art within itself originated from a small group of paintings that I did in artist portfolios. One example is included in this gallery.
Acrylic on Gatorboard in Foamcor box with Tyvek tape. Each 12 1/2 x 25 1/2 x 2 3/4. 2014
Acrylic on Gatorboard in Foamcor box with Tyvek tape. Each 12 1/2 x 25 1/2 x 2 3/4. 2014
Acrylic on Gatorboard in Foamcor box with Tyvek tape. 12 1/2 x 25 1/2 x 2 3/4. 2014
Acrylic on Gatorboard in Foamcor box with Tyvek tape. 12 1/2 x 25 1/2 x 2 3/4. 2014
Acrylic on Gatorboard in Foamcor box with Tyvek tape. 12 1/2 x 25 1/2 x 2 3/4. 2014
Acrylic and gesso on marbled paper interior of vintage portfolio. 36x39. 2010.
The Newhaus series uses geometric patterns and primary colors, basic visual elements inspired by the Bauhaus. Several artists associated with the Bauhaus practiced a "hands on" approach to creativity that especially interests me. Building wooden boxes and painting on them is a slower process and a new method for me. I am experimenting but with the deliberateness inherent to building.
Acrylic coated wood. 32 x 57 3/4 x 4. 2013
Acrylic coated wood. 15 x 57 1/2 x 3 1/2. 2013
Private Collection
Acrylic coated wood. 51 1/2 x 55 1/2 x 4. 2013
Acrylic coated wood. 30 3/4 x 38 3/4 x 4. 2013
Acrylic coated wood. 2013.
Acrylic coated wood. 5 1/2 x 5 1/2 x 2 1/2. 2013.
Private Collection
Acrylic coated wood. 5 1/2 x 5 1/2 x 2 1/2. 2013.
Private Collection
The Color Protocol series imposes a geometric system on the relationship between colors. I continue to experiment with different painting surfaces such as loose linen and laminated wood table tops. These simple materials push the colored patterns out from their surfaces creating the illusion of depth in these flat images.
Acrylic on linen with grommets. 21x21. 2012
Acrylic on linen with grommets. 21x21. 2012
Acrylic on wood. 21 1/2 x 26. 2012.
Acrylic on linen with grommets. 57x11. 2012
Acrylic on wood. Each panel 18x18. 2015
Acrylic on wood, 24x1. 2015
Private Collection
Acrylic on wood, 111x111. 2016
