After a crazy July, full of moving and playing, I am back in the studio working on the Iris Flowsaics, the really BIG egg tempera painting and the experimental aluminum white flower series!

Feels fabulous to again be at work.

Good news! Two of the Quaking Aspen Flowsaics will be in a group show at eo art lab. More on that in a day or two.

I've leaped from the early jellie scribbles to a new body of work I'm calling the white flower series. It is still in the experimental stages but I'm sourcing materials and making progress. Here are two images of a piece I did just before the July madness set in.

I'm printing white peonies images I captured with my iPhone onto 17" x 35" aluminum flashing. Then I'm pouring varnish with micron pigments, in this I've used some earth-based yellow and some white, pink and orange flourescent pigments. I'm adding some linseed oil as well! It's unpredictable play.

Another view of the first white flower piece.

I love Goethe's "unscientific" color theory!


"The human being himself, to the extent that he makes sound use of his senses, is the most exact physical apparatus that can exist." (Goethe, Scientific Studies)

light seen through a turbid medium appears yellow, and darkness seen through an illuminated medium appears blue - the world is full of turbidity (especially now.)

Why the sky is blue . . .

The highest degree of light, such as that of the sun... is for the most part colourless. This light, however, seen through a medium but very slightly thickened, appears to us yellow. If the density of such a medium be increased, or if its volume become greater, we shall see the light gradually assume a yellow-red hue, which at last deepens to a ruby colour. If on the other hand darkness is seen through a semi-transparent medium, which is itself illumined by a light striking on it, a blue colour appears: this becomes lighter and paler as the density of the medium is increased, but on the contrary appears darker and deeper the more transparent the medium becomes: in the least degree of dimness short of absolute transparence, always supposing a perfectly colourless medium, this deep blue approaches the most beautiful violet.

—Goethe, Theory of Colours, pp. 150–151



Curiously, since the crux of Goethe's theory is tied to what is experiential, he would reject both the wave and particle theories since they are conceptually inferred and not directly perceived by the human senses.

So back to the beginning . . . we are the most exact physical apparatus that can exist. And I'd go further and posit that the human heart has infinite depth beyond any scripture. Indeed the light and dark work together and in that working color forms.

July 5 heading to Delaware for our big move. Stopping on the NJ turnpike for food - ugh! However there is no better place to people watch!

And gassing up on the NJ turnpike - gotta love those prices and someone to pump the gas for you!

A farewell to Wilmington, DE.

The entourage

Uhaul returned July 9 - yay!!