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Reconstructed Landscape 57 Acrylic paint on salvaged wood panelling with galvanized metal frame 65 x 45 x 18 cm. More information on the |  | |
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Reconstructed Landscape 56b Acrylic paint on salvaged construction plywood with galvanized metal screen and metal frame 132 x 120 x 12 cm. More information on the |
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Reconstructed Landscape 53 Acrylic paint on salvaged construction plywood 122 x 47 x 54 cm. More information on the |
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Reconstructed Landscape 43b Acrylic paint on wood panel 300 x 250 x 60 cm. More information on the |
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Reconstructed Landscape 51 Intervention with found oil painting and painted wood frame 44 x 52 cm. More information on the |
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Reconstructed Landscape 46 Intervention with found oil painting and painted wood frame 58 x 68 cm. More information on the |
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Reconstructed Landscape 42b Acrylic paint on cotton canvas 150 x 6 x 6 cm. More information on the Side view...here>> |  | |
Reconstructed Landscape 41, Acrylic paint on cotton canvas 59.5 x 59.5 x 4 cm. More information on the a |  | |
Reconstructed Landscape 39, Acrylic paint on found plywood Dimensions variable (installation view - 3m x 6m) More information on the |  | |
Vital Statistics: Around 11 Percent (after Barnett Newman) Acrylic Paint on cotton canvas 243.5 x 203 x 5 cm. From the Vital Statistics Series, this painting offers a visual analysis of women artist represented in major museum collections: women-red/men-black, based on the painting“Adam”, 1951-1952, by Barnett Newman. |  | |
Reconstructed Landscape 31 (window 1), 2021 Acrylic paint on canvas with wood stretcher A simple landscape painted on a stretched canvas, cut into sections, mounted facing the wall, with the sections pulled out, and away from the stretcher to create an empty "window". More information on the |  | |
Reconstructed Landscape 36, 2021 Acrylic paint on wood panel mounted on white tulle A simple landscape painted on a wood panel, destroyed and reconstructed.. More information on the |  | |
Reconstructed Landscape 15.2 2021 Painted landscape with acrylic paint on wood, destroyed and reconstructed More information on the |  | |
Reconstructed Landscape 30 2021 Painted landscape with acrylic paint on wood, destroyed and reconstructed More information on the |  | |
Reconstructed Landscape 29 2021 Painted landscape with acrylic paint on wood, destroyed and reconstructed More information on the |  | |
Reconstructed Landscape 28 2021 Painted landscape with acrylic paint on wood, destroyed and reconstructed, with painted wood frame. More information on the |  | |
Reconstructed Landscape 7 2019 Acryilic paint on wood panel |  | |
Reconstructed Landscape 5 2019 Acryilic paint on wood panel |  | |
Reconstructed Landscape 2 2019 Acryilic paint on wood panel |  | |
Spring 18.3, 2018
27 x 37 cm. |  | |
Rendezvous 17: This Land Oil paint on canvas, plywood and 69.5 x 99 x 3.5 cm. This work is an intervention with a painting executed by the artist Aldolfo Espinoza de los Monteros. Painted in the early 70s, I found this piece hanging on the wall of one of my favorite jazz lounges, El Patio. Years after an initial request, the owner graciously allowed the evolution. Influenced by Mondrian, Fontana and my Scottish heritage, this romantic landscape has been zoned for development. more images of the Rendezvous Series...here>>
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Deerxing, 2009 130 x 300 cm.
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Red Curtain, 2009 Acrylic paint on canvas
High heeled shoes have a rich history dating back to ancient Symbols of our contemporary metropolis, high heels
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Jack N Jill, 2009 Acrylic paint on canvas This painting is a continuation of a series started in the late 80s titled Big Conscience. A series inspired by the theater sets of Gene Buck, the more recent paintings move beyond a single "set" of activity to incorporate multiple sets and events.
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Exposure 42, 2006 Acrylic paint mounted on acrylic sheeting 31 x 31 cm.
The paintings from the Exposure Series rest aesthetically between Photography and Painting. View more images from the Exposure Series...here>>
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Parkque 7, 2005 Acrylic paint, cloth and silkscreen on canvas 178 x 170 cm. This
series draws on two sources, Oriental and Western landscape painting
from the 1800s. The works in this series use the concept of the city
park to address issues of coexistence between the metropolis and
natural environment. The landscapes are painted on very thin canvas and then adhered to a thicker canvas to suggest a visual parallel to Oriental landscapes painted on rice paper and attached to other supports. The borders around the landscapes as well pay tribute to the stamped borders of repeated designs often used in conjunction with the Oriental paintings of that time period. However, the designs of the borders in the Parkque Series are derived from city maps. An ironic contrast is set with the rugged landscapes confined within the limits of the city.
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Vivarium 15, 2003 Acylic paint behind glass with acrylic frame 20 x 20 cm. The Vivaria Series started as research for solutions regarding the Exposure Series. Visually, the glass acts as a polarizing agent, offering a distinct view of the structure observed.
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Three Kinds of Skies Over The Rich Earth, 2002 Cut and assembled paint Pantone 19 x 5 x 1.5 cm. Paint
swatch companies give names to specific colors as a way to appeal to
customers at different emotional levels. From the swatch books I have
analyzed, some of the major name categories are Food, Nature and
Personal Names.
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Spiral 35, 2002 Permanent ink and acrylic paint on canvas 191 x 178 cm. It was an admiration of minimal line drawings from the 60s and 70s that initially inspired this series. Using simple systems, artists such as Sol LeWitt and Agnes Martin created beautifully sophisticated work. I was
interested in finding a simple system for creating drawings that adhere
to basic rules, but which can also develop without a specific outcome.
It was the organic beauty of altitude levels on topographic maps that
brought me to the idea of using a simple spiral. Added to its beauty, the spiral form has a rich, dense history dating back to ancient, megalithic art and is prevalent in nature, fractal growth systems found on any scale from minute biological configurations such as DNA strands to the vast formations galaxies demonstrate as they expand in the universe. More images of the Spiral Series...here>>
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Wait A Minute Please, 2001 Rust impregnated acrylic paint mounted on wood with metal frame 26 x 98 x 5 cm.
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Esperame, 2001 Rust impregnated acrylic paint mounted on wood 35 x 6.5 x 3.2 cm. The Time Series pieces are text based and it is the relationship of the surface characteristics in conjunction with the text that create meaning for the viewer. Each of these works resembles a timeworn, rusted iron sign conserved from a bygone era. The surface appears to have been in a state of decay for many years, a faux relic, creating the idea of archeological evidence, of an event from the past, a memory, which no longer retains the urgency of the moment, but transmits, or embodies a sense of nostalgia. view more images of the Time Series...here>>
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Rendezvous: Scotch Cloud, 1997 Acrylic paint, printed cloth on canvas 108 x 75 cm.
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Rendezvous: Lago Verde 1, 1997 Acrylic paint on canvas 215 x 160 cm.
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Nube Azul, 1996 Acrylic paint, printed cloth and rust on canvas 160 x 220 cm.
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Parting Is Such Sweet Sorrow, 1996 Painting performance using water on existing floor
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Siempre Te Cuidaré, 1995 Acrylic paint on wood
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Niño Perdido, 1995 Acrylic paint on wood
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Big Conscience: Get Busy, 1991 Acrylic paint on canvas 150 x 170 cm. |  | |
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