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Abstraction in C Plus is a limited edition of fifty 17x22, signed with a certificate of authenticity. Printed on Cold Press bright paper
I started making digital art in 2001. Since then, most of my work has been with photographic images processed in Photoshop, Lightroom, and layered collage. Sometimes I combine digitally painted elements as highlights to bring a collage together. Classic painting has always been a love of mine, but the immediacy of digital photography has been my medium of choice most recently. This past winter of 2021, I began painting with an iPencil in Procreate, an online drawing and painting program. I first started painting in my teens but later lost interest in art school and changed my focus to film and photography, graduating with a BFA in Film from the Philadelphia College of Art. I never lost interest in painting, but out of practicality, I chose film and later advertising for my career. I found painting an excellent cathartic and continued to paint on weekends, taking various workshops and classes.
In July 2022, while recovering from Covid, I began a new series of digital abstract paintings titled "Color Abstractions." they are somewhere between Baohaus-style and Abstract-Expressionist. I am happy to be working in this way again.
I print with an Epson Stylus Pro 3880 printer; the archival Chromium ink gives the color a rich and transparent value, allowing me to mix paints as if they were color gels. The printing itself can take a great deal of time because each painting has many colors and responds differently on paper stock. For this show, I have used Epson exhibition archival Cold Press bright paper

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Comment by Resident Curator on April 12, 2023 at 11:56am

Curator’s Comments:

I was happy to see your new digital piece Abstraction in C Plus posted recently to the site.  The image has a luminous clarity, and the overlapping of forms suggests the painterly glazing of semi-transparent layers of color. I enjoy the compositional placement of higher chroma hues in the spatial foreground.  The stacking suggests optical mixing that results in lower chroma colors in the background.  I’m also intrigued by the relationship between geometric and organic shapes, which suggest a similar dissolution of primary forms.  The circle with the square, joined by various straight and curvilinear interruptions, provides a vaguely pleasing dissonance.  Thank you for including the printed dimensions of the work. It helps to imagine how viewers might experience the piece as a visual object beyond the digital computer screen. 

I’m equally attracted to the compositionally energetic Easter Egg.  The saturated bits pulsate in active movement within a confined shape, suggesting a charged entity. Your accompanying narrative confirmed this association! But the abstraction also lends it’s to other possibilities, imagining organic and inorganic matter serving as conduits.  Thank you for sharing these wonderful new works.

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