CCCA Canadian Art Database

David Barnett

Combining found elements with those fashioned by his own hand, David Barnett's work encompasses two- and three-dimensional collage as well as sculptural objects. Infused with a rich sense of history, the essence of his work lies in the age-old struggle between nature and the man-made industrial world. He incorporates Victorian era botanical imagery, ancient anatomical diagrams, and vintage mechanical components along with natural materials. Whether it’s a rusty piece of metal, branches from an oak tree, or tiny turquoise-tipped rooster feathers, the right juxtaposition reveals itself to his—the more absurd, the better. A character is born and a narrative begins to unravel. The theme of flight is recurrent, as is the conflation of anatomy and mechanics. The result is a menagerie of ethereal winged creatures, human and animal hybrids, and fanciful flying machines. In this era of mass-production and instant gratification, it’s his hope that these intimate and meticulously crafted works will also evoke a sense of rarity, delight, and mystery.
Creator Id: 48
Social Media Link: Social Media Link
Web Site Link: Web Site Link
Virtual Collection: Original CCCA
Country of Birth: England
Year of Birth: 1933
City: Toronto
Country: Canada
Type of Creator: Artist
Gender: Male
Mediums: collage, painting, printmaking
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Work by David Barnett

Dandylions in Belleville

Work ID: 50618

Measurements: 185 x 145 cm

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71 Wright Ave.

Work ID: 50620

Measurements: 155 x 132 cm

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Kim at Greenwood Park

Work ID: 50621

Measurements: 137 x 188 cm

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Mike

Work ID: 50622

Measurements: 137 x 229 cm

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Elisa

Work ID: 50619

Measurements: 183 x 137 cm

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Linda’s Wedding #3

Work ID: 50625

Measurements: 140 x 140 cm

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Jim Rowing

Work ID: 50623

Measurements: 140 x 221 cm

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Linda’s Wedding #2

Work ID: 50624

Measurements: 137 x 183 cm

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Linda’s Wedding #4

Work ID: 50626

Measurements: 122 x 87 cm

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Triptych. 2: Blow Up

Work ID: 50632

Measurements: 163 x 140 cm

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Bill and Jean in the Water

Work ID: 50627

Measurements: 213 x 122 cm

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Triptych. 1: Janet Reading

Work ID: 50631

Measurements: 163 x 140 cm

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Triptych. 3: Susan

Work ID: 50633

Measurements: 163 x 140 cm

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Frank and Cheyenne at Terry’s Wedding

Work ID: 50630

Measurements: 79 x 79 cm

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Bill and Jean on the Beach

Work ID: 50628

Measurements: 183 x 168 cm

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Lloyd at Daytona Beach

Work ID: 50629

Measurements: 79 x 79 cm

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Cliff’s Hat

Work ID: 50634

Measurements: 163 x 137 cm

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Skipping Series: Kim #1

Work ID: 50640

Measurements: 183 x 168 cm

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Skipping Series: Lisa #5

Work ID: 50639

Measurements: 183 x 168 cm

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Skipping Series: Lisa #2

Work ID: 50638

Measurements: 183 x 168 cm

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Skipping Series: Lisa #1

Work ID: 50637

Measurements: 183 x 168 cm

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Skipping Series: Jodi #2

Work ID: 50636

Measurements: 183 x 168 cm

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Skipping Series: Jodi #1

Work ID: 50635

Measurements: 183 x 168 cm

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Skipping Series: Girl with Red Hair

Work ID: 50642

Measurements: 203 x 168 cm

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Girl Bouncing Beachball

Work ID: 50647

Measurements: 145 x 173 cm

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Skipping Series: Girl in Polka Dot Skirt

Work ID: 50645

Measurements: 198 x 168 cm

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Skipping Series: Two Figures

Work ID: 50643

Measurements: 183 x 198 cm

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Skipping Series: Jodi #4

Work ID: 50641

Measurements: 79 x 79 cm

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Girl Tossing Ball

Work ID: 50649

Measurements: 51 x 66 cm

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Girl Jumping

Work ID: 50646

Measurements: 168 x 191 cm

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Skipping Series: Girl in Blue Shorts

Work ID: 50644

Measurements: 224 x 290 cm

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Girl Tossing Beachball

Work ID: 50648

Measurements: 229 x 132 cm

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Bernadette

Work ID: 50651

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 183 x 168 cm

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Bill

Work ID: 50655

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 183 x 168 cm

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Rick

Work ID: 50653

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 183 x 168 cm

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Paul

Work ID: 50654

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 183 x 168 cm

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Sylvia

Work ID: 50652

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 183 x 168 cm

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Nadia

Work ID: 50650

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 132 x 122 cm

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Dorothy

Work ID: 50658

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 183 x 168 cm

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Gaye

Work ID: 50657

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 183 x 168 cm

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Denise

Work ID: 50656

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 183 x 168 cm

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Airshow II

Work ID: 50661

Measurements: 71 x 81 cm

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Airshow

Work ID: 50660

Measurements: 97 x 177 cm

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Airshow V [detail]

Work ID: 50665

Measurements: 122 x 422 cm

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Airshow V

Work ID: 50664

Measurements: 122 x 422 cm

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Girl on Swing [installation]

Work ID: 50674

Description: Commissioned by the Toronto Eaton Centre

Measurements: 488 x 488 cm

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Girl on Swing

Work ID: 50673

Description: Commissioned by the Toronto Eaton Centre

Measurements: 488 x 488 cm

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Airshow IV

Work ID: 50663

Measurements: size unknown/inconnues

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Airshow III

Work ID: 50662

Measurements: 152 x 122 cm

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Airshow VI

Work ID: 50666

Measurements: 234 x 284 cm

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Airshow VII

Work ID: 50667

Measurements: size unknown/inconnues

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Airshow VIII

Work ID: 50668

Measurements: 137 x 156 cm

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Untitled Drawing

Work ID: 50682

Measurements: 71 x 56 cm

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Airshow X

Work ID: 50669

Measurements: 107 x 203 cm

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Airshow XII

Work ID: 50671

Measurements: 150 x 168 cm

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Airshow XIII

Work ID: 50672

Measurements: size unknown/inconnues

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Airshow XI

Work ID: 50670

Measurements: 231 x 165 cm

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Airshow XIV

Work ID: 50675

Description: Commissioned by the Ontario Government for the St. Catherines Court House

Measurements: 213 x 427 cm

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Untitled Drawing

Work ID: 50683

Measurements: 71 x 56 cm

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Portrait

Work ID: 50687

Measurements: 163 x 137 cm

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Hope

Work ID: 50685

Measurements: 81 x 71 cm

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Airshow XV [detail]

Work ID: 50679

Description: Commissioned by CanLea Ltd. For the lobby of the Maclean-Hunter Building, Toronto

Measurements: 488 x 244 cm

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Portrait

Work ID: 50686

Measurements: 157 x 137 cm

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Airshow XV [installation]

Work ID: 50677

Description: Commissioned by CanLea Ltd. For the lobby of the Maclean-Hunter Building, Toronto

Measurements: 488 x 244 cm

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Airshow XV

Work ID: 50676

Description: Commissioned by CanLea Ltd. For the lobby of the Maclean-Hunter Building, Toronto

Measurements: 488 x 244 cm

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Portrait

Work ID: 50688

Measurements: 183 x 168 cm

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Jodi

Work ID: 50684

Measurements: 86 x 86 cm

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Airshow XV [detail]

Work ID: 50681

Description: Commissioned by CanLea Ltd. For the lobby of the Maclean-Hunter Building, Toronto

Measurements: 488 x 244 cm

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Airshow XV [detail]

Work ID: 50680

Description: Commissioned by CanLea Ltd. For the lobby of the Maclean-Hunter Building, Toronto

Measurements: 488 x 244 cm

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Airshow XV [work in progress]

Work ID: 50678

Description: Commissioned by CanLea Ltd. For the lobby of the Maclean-Hunter Building, Toronto

Measurements: 488 x 244 cm

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Untitled Drawing

Work ID: 50704

Measurements: 38 x 28 cm

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Untitled Drawing

Work ID: 50701

Measurements: 28 x 38 cm

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Untitled

Work ID: 50700

Measurements: 122 x 117 cm

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Untitled Drawing

Work ID: 50702

Measurements: 38 x 28 cm

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Untitled

Work ID: 50691

Measurements: 81 x 71 cm

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Portrait

Work ID: 50689

Measurements: 183 x 168 cm

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Portrait

Work ID: 50692

Measurements: 157 x 137 cm

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Untitled

Work ID: 50707

Measurements: 81 cm high/de haut

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Untitled Drawing

Work ID: 50703

Measurements: 38 x 28 cm

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Untitled

Work ID: 50699

Measurements: 183 x 168 cm

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Portrait

Work ID: 50690

Measurements: 122 x 152 cm

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Figure

Work ID: 50705

Measurements: 107 x 38 x 33 cm

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Portrait

Work ID: 50693

Measurements: 157 x 137 cm

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Untitled

Work ID: 50706

Measurements: 28 cm high/de haut

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Man with a Flag

Work ID: 50709

Measurements: 229 x 203 cm

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Cyclist

Work ID: 50708

Measurements: 198 x 190 cm

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Untitled

Work ID: 50698

Measurements: 86 x 86 cm

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Untitled Drawing

Work ID: 50697

Measurements: 76 x 56 cm

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Untitled Drawing

Work ID: 50696

Measurements: 76 x 56 cm

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Peer

Work ID: 50710

Measurements: 221 x 130 cm

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Woman with a Turban

Work ID: 50694

Measurements: 193 x 163 cm

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Pole Vaulter

Work ID: 50716

Measurements: 262 x 201 cm

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Breast Examination

Work ID: 50711

Measurements: 190 x 130 cm

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Figure in Front of Mirror

Work ID: 50718

Measurements: 152 x 108 cm

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Circus

Work ID: 50712

Measurements: 251 x 203 cm

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Runner

Work ID: 50713

Measurements: 224 x 203 cm

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Portrait

Work ID: 50695

Measurements: 86 x 188 cm

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Graffitti Painter

Work ID: 50714

Measurements: 254 x 203 cm

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Wizard

Work ID: 50715

Measurements: 269 x 201 cm

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Bather

Work ID: 50717

Measurements: 193 x 163 cm

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Judith and Holofernes

Work ID: 50720

Measurements: 208 x 206 cm

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Star Gazer

Work ID: 50719

Description: private commission

Measurements: 366 x 173 cm

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Dream of Flight

Work ID: 50722

Measurements: 137 x 203 cm

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Dream of Flight #2

Work ID: 50723

Measurements: 188 x 168 cm

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Dream of Flight #3

Work ID: 50724

Measurements: 206 x 168 cm

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Walking Woman

Work ID: 50721

Measurements: 135 x 206 cm

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The Death of Icarus

Work ID: 50727

Measurements: 203 x 152 cm

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The Leap

Work ID: 50725

Measurements: 168 x 122 cm

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Icarus

Work ID: 50726

Measurements: 203 x 183 cm

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Juanita

Work ID: 50659

Description: From the Smoking Series.

The achromatic form on which these paintings were structured resulted from a question that arose in previous work. I had been working in colour from images that originated in photographic reference, such as family snapshots, almost all of which were in black and white. To assign local colour to areas of the image seemed arbitrary and the results often too "pretty". The alternative of simply using grey paint was too sterile. I wanted to discover a method of painting that would allow the play of colour and avoid the decorative, while preserving the integrity of the original.

It was only when I began to apply adjacent complimentary hues to the canvas in a pointillistic fashion with a course air brush, which from a distance would appear as values of grey approximating those of the original, that I felt I had arrived at an acceptable painterly solution. This produced a personal aesthetic that was to remain with me over many years and subjects.

Measurements: 193 x 198 cm

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Dream of Flight #4

Work ID: 50728

Measurements: 152 x 108 cm

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Twelve 8

Work ID: 50737

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

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Four 2

Work ID: 50743

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Four:

"Marco Polo, mute informant, spread out... the samples of the wares he had brought back from his journeys to the ends of the empire: a helmet, a seashell, a coconut, a fan." - Italo Calvino, Invisible Cities

Measurements: 24 x 30 cm

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Twelve 1

Work ID: 50730

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

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Twelve 5

Work ID: 50734

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

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Three 1

Work ID: 50746

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Three:

"What is the use, then, of all your travelling?" - Italo Calvino, Invisible Cities

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

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Four 1

Work ID: 50742

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Four:

"Marco Polo, mute informant, spread out... the samples of the wares he had brought back from his journeys to the ends of the empire: a helmet, a seashell, a coconut, a fan." - Italo Calvino, Invisible Cities

Measurements: 24 x 30 cm

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Date Made:

Materials:

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Twelve 2

Work ID: 50731

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

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Twelve 12

Work ID: 50741

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Twelve 10

Work ID: 50739

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

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Twelve 6

Work ID: 50735

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Four 3

Work ID: 50744

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Four:

"Marco Polo, mute informant, spread out... the samples of the wares he had brought back from his journeys to the ends of the empire: a helmet, a seashell, a coconut, a fan." - Italo Calvino, Invisible Cities

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Twelve 4

Work ID: 50733

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Twelve 9

Work ID: 50738

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Three 2

Work ID: 50747

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Three:

"What is the use, then, of all your travelling?" - Italo Calvino, Invisible Cities

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Twelve 3

Work ID: 50732

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Three 3

Work ID: 50748

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Three:

"What is the use, then, of all your travelling?" - Italo Calvino, Invisible Cities

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Four 4

Work ID: 50745

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Four:

"Marco Polo, mute informant, spread out... the samples of the wares he had brought back from his journeys to the ends of the empire: a helmet, a seashell, a coconut, a fan." - Italo Calvino, Invisible Cities

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

Add to List

Twelve 7

Work ID: 50736

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Twelve 11

Work ID: 50740

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Twelve

Work ID: 50729

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Twelve:

"You, who go about exploring and who see signs, can tell me toward which of these futures the favouring winds are driving us." - Italo Calvino, Invisible Cities

Measurements: 23 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Seven 1

Work ID: 50749

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Seven:

"...I thought of dew on armour and carrion. What would I meet, blood-boltered, on the road." - Seamus Heaney, Glanmore Sonnets, #VII

Measurements: 24 x 30 cm

Collection:

Date Made:

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Still Life with Urban Rubble

Work ID: 50756

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

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Seven 7

Work ID: 50755

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Seven:

"...I thought of dew on armour and carrion. What would I meet, blood-boltered, on the road." - Seamus Heaney, Glanmore Sonnets, #VII

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

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Seven 2

Work ID: 50750

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Seven:

"...I thought of dew on armour and carrion. What would I meet, blood-boltered, on the road." - Seamus Heaney, Glanmore Sonnets, #VII

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

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Seven 6

Work ID: 50754

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Seven:

"...I thought of dew on armour and carrion. What would I meet, blood-boltered, on the road." - Seamus Heaney, Glanmore Sonnets, #VII

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Seven 4

Work ID: 50752

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Seven:

"...I thought of dew on armour and carrion. What would I meet, blood-boltered, on the road." - Seamus Heaney, Glanmore Sonnets, #VII

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

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Seven 5

Work ID: 50753

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Seven:

"...I thought of dew on armour and carrion. What would I meet, blood-boltered, on the road." - Seamus Heaney, Glanmore Sonnets, #VII

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

Virtual Collection:

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Seven 3

Work ID: 50751

Description: From the Media Series.

Twelve was the first of several polytychs. Each of its twelve panels used imagery cropped from the daily newspapers between December 1992 and March 1993. Each echoing its black and white source was painted in strokes of complimentary colours, which from a distance, appeared as values of grey.

There was no pretence of forming patterns of meaning; in fact if there is one, it is of meaninglessness, fragmentation and our inability to grasp any comprehensible notion of a constantly changing world. To emphasise this, their installation, avoiding the unity of a grid, was random and avoided horizontal or vertical alignment. A hanging diagram was provided.

The title of each set was borrowed from a literary source.

Seven:

"...I thought of dew on armour and carrion. What would I meet, blood-boltered, on the road." - Seamus Heaney, Glanmore Sonnets, #VII

Measurements: 24 x 30 cm

Collection:

Date Made:

Materials:

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Grey Tweed

Work ID: 50776

Measurements: 30 x 24 cm

Collection:

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Two Bricks

Work ID: 50757

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 24 x 30 cm

Collection:

Date Made:

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Untitled [detail]

Work ID: 50778

Collection:

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Untitled

Work ID: 50777

Measurements: 122 x 112 cm

Collection:

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Empty Pot

Work ID: 50758

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 30 x 30 cm

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Jeux d’eau

Work ID: 50779

Measurements: 122 x 112 cm

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Tuscan Cream

Work ID: 50759

Description: The Tuscan Cream used in the title of these two works refers not to nostalgia for Italy, but to the brand name on the cartons of a line of milk products in New York City.

Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 33 x 37 cm

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Date Made:

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Five

Work ID: 50764

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 27 x 38 cm

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Cup with Jar

Work ID: 50761

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 30 x 32 cm

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Jardinière

Work ID: 50762

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 43 x 50 cm

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Date Made:

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2%

Work ID: 50766

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 39 x 39 cm

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Still Life with Broken Brick

Work ID: 50763

Measurements: 30 x 30 cm

Collection:

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Lait Fermenté Maigre

Work ID: 50765

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 38 x 39 cm

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Lait

Work ID: 50767

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 39 x 44 cm

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Date Made:

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Tall Jug

Work ID: 50760

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 25 x 30 cm

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Earth Song #1

Work ID: 50782

Measurements: 122 x 112 cm

Collection:

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Four Milk Cartons

Work ID: 50772

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 39 x 48 cm

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Tissue Box

Work ID: 50771

Measurements: 39 x 46 cm

Collection:

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Cow’s Face

Work ID: 50773

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 39 x 46 cm

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Date Made:

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Five Milk Cartons

Work ID: 50770

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 41 x 47 cm

Collection:

Date Made:

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Earth Song #2

Work ID: 50783

Measurements: 122 x 112 cm

Collection:

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Invisible Cities

Work ID: 50781

Measurements: 122 x 112 cm

Collection:

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Four Vessels

Work ID: 50769

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 49 x 49 cm

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Frais Frais

Work ID: 50768

Measurements: 32 x 34 cm

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Earth Song #3

Work ID: 50784

Measurements: 122 x 112 cm

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Tuscan Cream

Work ID: 50774

Description: The Tuscan Cream used in the title of these two works refers not to nostalgia for Italy, but to the brand name on the cartons of a line of milk products in New York City.

Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 33 x 39 cm

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Four Cream Cartons

Work ID: 50775

Description: Continuing to work in an achromatic fashion, I preferred now to bypass the intervention of technology and abandoned photographic sources in favour of direct vision. I continued to probe the music-like complexity of simple grey scales, and like certain verse forms, these still life subjects seemed perfectly contained and limitless.

Measurements: 33 x 39 cm

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Untitled

Work ID: 50780

Measurements: 122 x 112 cm

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Studio – with Air Show

Work ID: 50787

Measurements: 168 x 114 cm

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Studio – with copy of Titian’s The Flaying of Marsayas

Work ID: 50786

Measurements: 168 x 114 cm

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Grey Studio

Work ID: 50785

Measurements: 127 x 97 cm

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Studio – with the Rage of Achilles

Work ID: 50795

Measurements: 157 x 137 cm

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Studio – at Midnight

Work ID: 50789

Measurements: 112 x 91 cm

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Studio – with Copy of Pisanello’s St. George

Work ID: 50794

Measurements: 140 x 117 cm

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Yellow Studio

Work ID: 50788

Measurements: 168 x 137 cm

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Studio – with Giotto’s Angel

Work ID: 50790

Measurements: 112 x 91 cm

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Studio – with Running Water

Work ID: 50796

Measurements: 168 x 117 cm

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Studio – in the Country

Work ID: 50792

Measurements: 112 x 91 cm

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Studio – ‘Where Are We?’, John Berger

Work ID: 50793

Description: From the Studio Series.

"Where are we?", used in the identification of this painting is the title of an essay by John Berger, that appeared in the March, 2003 issue of Harper's Magazine, p. 13. It was reprinted from the introduction to Between the Eyes: Essays on Photography and Politics, by David Levi Strauss, published in April, 2003 by Aperture. Among other things, it criticised the misused power of the trinity of the World Bank, the Pentagon and US political administration.

Measurements: 168 x 137 cm

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Studio – with the Fall of Icarus

Work ID: 50791

Measurements: 112 x 91 cm

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Black Studio

Work ID: 50797

Measurements: 168 x 117 cm

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Studio – Nineteen Thirty-Three

Work ID: 61059

Measurements: 168 x 117 cm

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Portrait of Annie – With Copy of Manet’s Boutique de Pivoines

Work ID: 61058

Measurements: 61 x 76 cm

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Studio – The End of Time

Work ID: 61062

Measurements: 141 x 117 cm

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Studio – Waiting for the Barbarians

Work ID: 61060

Measurements: 168 x 117 cm

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Studio – With the Unfinished Portrait of a Hollow Man

Work ID: 61064

Measurements: 101 x 81 cm

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Studio – With an Attempt (Abandoned) to Paint the Psyche of a Banker

Work ID: 61063

Measurements: 101 x 81 cm

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Studio – The Abyss of the Birds

Work ID: 61061

Measurements: 168 x 117 cm

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Studio – With Graffito

Work ID: 61071

Measurements: 140 x 190 cm

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Studio – With an Unfinished Portrait

Work ID: 61065

Measurements: 101 x 81 cm

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Studio – With a Figure on the Roof

Work ID: 61068

Measurements: 141 x 117 cm

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Studio – With the Portrait of a Man in Great Confusion

Work ID: 61066

Measurements: 101 x 81 cm

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Studio – Figure Wearing a Lion Mask

Work ID: 61069

Measurements: 168 x 117 cm

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Studio – After a Summer Storm

Work ID: 61067

Measurements: 141 x 117 cm

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Studio – With a Red Painting

Work ID: 61070

Measurements: 140 x 190 cm

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Studio – With a Copy of Josh’s Self Portrait with his Mother

Work ID: 61072

Measurements: 119 x 94

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