This series of Manuscript Collages produced in 1979 - 1980 pre-dates my involvement with computers, however the conceptual link is clear.  The compositions are loosely based on Indian and Persian miniatures, in which the integration of image and text are creatively juxtaposed rather than presented as completely separate images.

The imagery in this series intertwines varying levels of representation derived from a magnolia seed pod.  It is my personal investigation of what it means to cast off the pure abstraction of the preceding decade, part of an ongoing struggle of my early years when the trends of the Art World loomed large and rang hollow.

Media used include:

lithographic print for black & white repetitive drawn form, loosely alluding to printed text

pencil drawing, as a more representational element

color photocopies from Xerox, which generously granted access to a color photocopier in the very early days

color pastel drawing, representing abstract form derived from the seed pod

Exhibitions:

This series was never exhibited.

Private Galleries were the norm in 1980.  Everyone loved the work; no one thought it would sell.

Thanks to the web I am able to share this pivotal series

This series of Manuscript Collages produced in 1979 - 1980 pre-dates my involvement with computers, however the conceptual link is clear.  The compositions are loosely based on Indian and Persian miniatures, in which the integration of image and text are creatively juxtaposed rather than presented as completely separate images.

The imagery in this series intertwines varying levels of representation derived from a magnolia seed pod.  It is my personal investigation of what it means to cast off the pure abstraction of the preceding decade, part of an ongoing struggle of my early years when the trends of the Art World loomed large and rang hollow.

Media used include:

lithographic print for black & white repetitive drawn form, loosely alluding to printed text

pencil drawing, as a more representational element

color photocopies from Xerox, which generously granted access to a color photocopier in the very early days

color pastel drawing, representing abstract form derived from the seed pod

Exhibitions:

This series was never exhibited.

Private Galleries were the norm in 1980.  Everyone loved the work; no one thought it would sell.

Thanks to the web I am able to share this pivotal series

This series of Manuscript Collages produced in 1979 - 1980 pre-dates my involvement with computers, however the conceptual link is clear.  The compositions are loosely based on Indian and Persian miniatures, in which the integration of image and text are creatively juxtaposed rather than presented as completely separate images.

The imagery in this series intertwines varying levels of representation derived from a magnolia seed pod.  It is my personal investigation of what it means to cast off the pure abstraction of the preceding decade, part of an ongoing struggle of my early years when the trends of the Art World loomed large and rang hollow.

Media used include:

lithographic print for black & white repetitive drawn form, loosely alluding to printed text

pencil drawing, as a more representational element

color photocopies from Xerox, which generously granted access to a color photocopier in the very early days

color pastel drawing, representing abstract form derived from the seed pod

Exhibitions:

This series was never exhibited.

Private Galleries were the norm in 1980.  Everyone loved the work; no one thought it would sell.

Thanks to the web I am able to share this pivotal series

This series of Manuscript Collages produced in 1979 - 1980 pre-dates my involvement with computers, however the conceptual link is clear.  The compositions are loosely based on Indian and Persian miniatures, in which the integration of image and text are creatively juxtaposed rather than presented as completely separate images.

The imagery in this series intertwines varying levels of representation derived from a magnolia seed pod.  It is my personal investigation of what it means to cast off the pure abstraction of the preceding decade, part of an ongoing struggle of my early years when the trends of the Art World loomed large and rang hollow.

Media used include:

lithographic print for black & white repetitive drawn form, loosely alluding to printed text

pencil drawing, as a more representational element

color photocopies from Xerox, which generously granted access to a color photocopier in the very early days

color pastel drawing, representing abstract form derived from the seed pod

Exhibitions:

This series was never exhibited.

Private Galleries were the norm in 1980.  Everyone loved the work; no one thought it would sell.

Thanks to the web I am able to share this pivotal series

This series of Manuscript Collages produced in 1979 - 1980 pre-dates my involvement with computers, however the conceptual link is clear.  The compositions are loosely based on Indian and Persian miniatures, in which the integration of image and text are creatively juxtaposed rather than presented as completely separate images.

The imagery in this series intertwines varying levels of representation derived from a magnolia seed pod.  It is my personal investigation of what it means to cast off the pure abstraction of the preceding decade, part of an ongoing struggle of my early years when the trends of the Art World loomed large and rang hollow.

Media used include:

lithographic print for black & white repetitive drawn form, loosely alluding to printed text

pencil drawing, as a more representational element

color photocopies from Xerox, which generously granted access to a color photocopier in the very early days

color pastel drawing, representing abstract form derived from the seed pod

Exhibitions:

This series was never exhibited.

Private Galleries were the norm in 1980.  Everyone loved the work; no one thought it would sell.

Thanks to the web I am able to share this pivotal series

This series of Manuscript Collages produced in 1979 - 1980 pre-dates my involvement with computers, however the conceptual link is clear.  The compositions are loosely based on Indian and Persian miniatures, in which the integration of image and text are creatively juxtaposed rather than presented as completely separate images.

The imagery in this series intertwines varying levels of representation derived from a magnolia seed pod.  It is my personal investigation of what it means to cast off the pure abstraction of the preceding decade, part of an ongoing struggle of my early years when the trends of the Art World loomed large and rang hollow.

Media used include:

lithographic print for black & white repetitive drawn form, loosely alluding to printed text

pencil drawing, as a more representational element

color photocopies from Xerox, which generously granted access to a color photocopier in the very early days

color pastel drawing, representing abstract form derived from the seed pod

Exhibitions:

This series was never exhibited.

Private Galleries were the norm in 1980.  Everyone loved the work; no one thought it would sell.

Thanks to the web I am able to share this pivotal series