Obsessional Home Improvement

2009
Dimensions: 122 by 122 by 8 cm, framed.
Media: Paint on wood panel, and wooden elements.

Good example of the artist’s primary theme: life and death, creation and destruction, good and bad, together in the same place at the same time. Vast empty grey square juxtaposed with a bright white rectangle that is highlighted with vibrant orange pin-stripes. At the center of attention, a small white square sheet of wood that is broken over a stick. And around this square sheet of wood the wood panel is gouged out leading down and around to the signature L.

In a mixed-media work such as this one, the craftsmanship is of utmost importance, for practical reasons as well as personal: the more solid the work is, the better the artist feels about it.

Resting in Relative Peace

2004
Dimensions: 136 by 96 cm, framed.
Media: Paint on wood panel.

The very large and simple grey figure offers a sense of purity and tranquillity. Challenging this tranquillity is a piece of wood that has been sawed into every which way, yet in geometric harmony with the large grey figure. The dynamic red brush strokes further challenge the peaceful posture of the large grey figure, “resting in relative peace.”

An Iris’ Phototropism, Undefined

2003
Dimensions: 127 by 87 cm, framed.
Media: Paint canvas with wood sheets.

Wood sheets with notches integrating a lone iris: Hallowed ground, solid sky–what may seem to be empty space seems to make what is there stand out that much more, notably the iris. But does this iris stand out any better than the simple yet elegant geometry of the wood sheets notched together at their corners? And however different these visual elements may be in nature, aren’t they all of the same unfathomable nature in the end? Indeed, the true beauty of our seemingly chaotic nature is that it includes, at the same time, a discernable sense of geometry.

Close up

The Cornerstone

2009
Dimensions: 90 by 90 cm, framed.
Media: Paint on wood panel, with wood and metal pieces.

Bright white frame with bright yellow perimeter. A grey cube, the “cornerstone” of the house, is inserted into a cut-out part of the frame at the bottom right. In principal, the frame is neutral in respect to the artwork it encompasses. In this respect the cornerstone should be unassailable.

The construction at center-left is based on a black metal bar which is half an inch wide and encrusted in the wood panel. The lines of the bar lead down to the black line in the roof of the house and finally to the black L (the signature), which has the same width as the black bar. A bright yellow, deconstructed sun and bright white deconstructed house complete the work.

The Eldest Has Fallen

2006
Dimensions: 135 by 103 cm, framed.
Media: Paint on wood panel, interlaced wiring and stick.

This upside down abstract female figure with the hair flipping back up (sixties style) is personally considered by the artist to be one of his more poignant: from the upper left where there is an elegant hand flipping you the bird, to the bottom right where there is a roughly scraped out hand, the imagery, or subject if you prefer, defies (read cries out for) a sense of reason.

Sawn and Sewn – Perfection

2008
Dimensions: 110 by 61 by 7 cm.
Media: Paint on canvas.

At the center, a fuzzy application of paint, an iconic message without definition. From this point, one finds (and he may find it further unsettling) a canvas that has been sawn upon with a gaping gash in the bright white of the canvas and which leads your eyes into a perfect geometric form of pure black at the top. The saw marks on this black form lead to a field of grey paint brush-hair marks (of like style) consummated by a yellow blot that has been sewn up with grey thread.

The She Flower

2005
Dimensions: 125 by 102 cm.
Media: Paint on canvas.

Despite an apparent depiction of a globe, or world, and a perceptible whirlwind, there is one, and only one thing that really matters in this painting—the flower—that is seemingly caught up in this whirlwind. Everything else is inconsequential. And this flower is big, as big as a person.

Indescernable Destination

2009
Dimensions: 134 by 65 by 7 cm.
Media: Paint on canvas with bolted wood sheets.

 

Close Up

Standing in front of the painting, you can see half of a stick man in the upper left under the house. In this close-up side view you can see the rest of the stick man, which is on the side of the canvas. He is in the painting to better express the path that we are all trying to find in life but he is represented with a certain reserve (he is a little lost as he is).

There Is No Way Out

2008
Dimensions: 32 by 20 cm, framed.
Media: Paint on wood panel, with frame joints in their plastic bag.

This is a small frame to stretch canvas on with its accompanyinng frame-joint bits (in plastic sack), which are supposed to be used to ensure right angles, square things away if you will, solidify the structure if you prefer. The fact that these tid-bits are not ensuring any of this is the least of the problems being addressed by this work.

Plotting Transitional Remnants

2007
Dimensions: 108 by 81 cm, framed.
Media: Paint on wood panel with wood panel.

There is a large inverted L panel at the center over black. Other smaller, and perfectly rectangular panels hover around it. They are cut out of the main panel but remain in place. There are small raw wood forms that have been created, rough as well as geometrically perfect ones. The signature L at the bottom right has graphic cuts accompanying it–through the wood support panel–and which adds balance to similar cuts around the small raw wood rectangles that are above and to the left of it.

Interpreting the Results of an Experiment

2006
Dimensions: 60 by 45 cm, framed.
Media: Paint on wood panel in box frame with assorted materials.

It wound up as follows: The upper left of the panel with a slot cut into it. An incline running to the bottom right. A wood disk stuck at the center. Linear parameters describing either paths or borders. A wholly non conclusive disparate design in nature, or whatever.

Our Dimensional Awareness with Orange Confidence Intervals

2008
Dimensions: 87 by 85 by 10 cm, framed.
Media: Paint on canvas with wood blocks and tape.

This composition presents the number four, which for the artist, is particularly telling in its visual interest, regardless of anything else it may, or may not, lay claim to. It has bright orange-taped blocks around the perimeter of the frame, a piece of this bright orange tape also at the upper right and a tattered piece of silver duct tape right in the middle.

Close Up

Side View

Lopped Off at the Top

2006
Dimensions: 60 by 35 by 7 cm, framed.
Media: Paint on canvas on box frame.

The canvas and its support is 7 cm. deep. The upper right corner of the canvas/support has been “lopped off”. It is left hanging by the canvas. The signature K is scraped into the canvas leaving a gash. A needle is left hanging next to it on a thread.

Side View: