These forms below first emerged from the Big Series of 2009 – 2011 which can be seen in its entirety here. A project spanning two years and two continents and based on eight forms, the Big Series by the end had explored, played with and expounded upon those eight forms in a total of 24 unique suites in many different media.
One such suite, Commentary and Form (here), was based on the re-assemblages of a preceding group of eight large triptych paintings, in each case joining the outer two panels of a painting while leaving the center panel standing aside. Remarkably, the bones of each painting’s structure was to be found in the joined outer two panels, while the single middle panel was filled with small symbol-like shapes. Hence the name.
Tracings of each of the new Form diptychs were further developed to become the basis for later works in the Big Series, but these eight traced diptych extractions themselves were never fully developed as envisioned. With the Ünneptelenül pieces of 2019, work on this concept resumed, following a focus on writing as mark-making, only to be halted suddenly by a broken bone. Now, having just resumed working with the traced Form diptychs, similar obstacles have arisen!
Here for now, are the newest pieces, reflecting my current double-sided work with circular form:
Both Ünneptelenül and Split Commentary Revisited are acrylic on stitched or taped, gessoed paper, 11″x40″ x2.