This one nearly bought me back into The Stone Age, ... was also part of a diptych, with an interesting combination of brown and magenta.
One of the few works that no longer is in my possession, ... I hope it's being appreciated wherever it may be.
Another "Emotional Geometry" variation ... a kind of Vanitas ... Symmetrical Transience ... a bit Romantic ... based partially on the etchings of the "Times of Day" by the German Romantic painter, Phillip Otto Runge.
Size is variable.
This is the left side of a triptych, it has a horned skull with a very phallic flower below it ... the middle section is 100x80cm., with an image of a half nude standing dreamily in front of an open window done in photo-canvas technique and acrylic with pencil ... the right panel is identical to this left side.
There are also minimal striped (Newmanesque ZIPS) alternate side panels ... so it is a middle section with two alternate side panels.
And now, for those of you who nearly just fell asleep reading this mind-numbing description, please say 5 Our Fathers and 10 HAIL MARY'S as penance.
The different meanings of the carp are explained in the information about the larger versions titled "LOOMING I & II".
Many paintings have been done in this diptych format which I refer to as my "STEREO" series.
Similar to the idea of separating and expanding the acoustic signal of a recording by having the sound emanate from TWO speakers placed in a room, my idea was to do pretty much the same with a painting ... creating the continuation of a visual idea in a given space.
Many of these smaller formats (mostly 50x40cm. ... or ... HEAD SIZE) ... are painted in layers that end up giving the still life or memento mori subject the feel of an image fossilized in color.
The format 50x40cm. was an idea given to me by Kurt Kranz who studied at the Bauhaus with Kandinsky, Albers, and Klee, who laughed when I told him I was running out of space to live and work in because all my artworks were getting too big ... Kurt told me that Klee's studio at the Bauhaus was only about 20 sq.m. (filled with cats and violins) and that Klee NEVER did a big painting in his life. How true.
It was a relief to free myself into the intimate world of Smalldom.
Why not ?
Vanitas Fossilization in Color Pigments.
Belonging to a large group of "STEREO HEAD SIZE" paintings.
This small scale painting was inspired by and a homage to one of my absolute childhood heroes ... the fantastic Ed "Big Daddy" Roth ... God of California Kustom Kulture, creator of Custom Cars, and plastic models, and comics, and t-shirts.
These "CLOUDS" are also a part of the "STEREO HEAD SIZE" painting series ... two (more or less) symmetrical paintings, another diptych.
Someone asked me to draw a model of CLOUDS that could be reproduced in the 5 story stairwell of a passenger ship.
I ended up with different (but similar) versions of what you see here, done in acrylics, pastel, and pen and ink.
My "CLOUDS" ended up somewhere between being clouds, and waves, and/or spiral galaxies (in other versions) ... to me they were stylistically vibrating between Art Deco, Japanese woodcuts, and comics.
Though no interest was given to these CLOUD ideas, ... my design for the AIDA passenger ship, a few years before, had won second prize (and, like in the Clint Eastwood film ... "A Fistful of Dollars" for myself).
My design for the AIDA was to paint the entire ship METALLIC SILVER (like a GT or Formula One Mercedes Benz, SILVER ARROW), with tinted GREEN WINDOWS ... I still think it's a way better idea than that goofy face that ended up on the ship.
Well ... all I can say is; "Hey ... YOU ... GET OFF OF MY CLOUD !"