Il Sentiero 12
1990’s Constructions
Turner Carroll Gallery
As I progressed with my vision of unstructured work, which I felt relied upon a creative process that I had not seen anyone else using, the work began to realize just how hard this was to not just create, but also to construct.
Ariadne 6
Amos Joseph -1993
I was asked to show at Amos Joseph Gallery and moved there for several years. This was the beginning of my adventure into leaving the rectangle and creating my own version of space. Things began to change rapidly as I was influenced by the shaped works of Frank Stella and then Elizabeth Murray.
Amos Joseph 1994
Amos Joseph Gallery-1993
This was my first show of completely constructed pieces and the final references to any landscape visuals. All of the pieces in this solo show were made with plywood which I cut and put together. I was delighted with the response and felt that I was now moving into truly unknown territory with my creative process.
Accompaniment
1993-Accompaniment
Through the nineties, I explored various concepts of space and how space interacts with the wall and shadow. I was conscious of the influence of Stella and worked hard to utilize his concepts of form and the principles he discussed in his Harvard seminal book “Working Space!”
Just A Circle
1994-Just A Circle
I began to feel the quality of creative “looseness” as I made each piece. Never quite sure where each would lead or end up. I found that it was the negative space that began to interest me, and from then on, I played with shadows!
Througth The Window
Through The Window-1998
By the late 90’s I was truly committed to this new process and work flowed from one to the other at a very rapid pace. My interest in expanding negative space and utilizing its relationship to shadows, to allow for an interaction of the two began to solidify. As Stella pointed out, the working space needed to be active and vibrant, but for me, I wanted to see how the subtlety of a shadow could enhance and move that positive space depending on the viewer’s location when observing it.
Brass 1
Brass 1-1999
The complexity of form and color explodes in the piece. The flowing lines and energy display for me the feeling of the great Jazz brass players such as Coltrane!
White
Maha’s Flag
I have decided to show more of my constructions and I am in the process of putting them on the site.
White -1999
The final six constructions I made were up to 14” off the wall. The shadow elements enhanced the construction and allowed for even more depth to each piece.