Temple's TangleWave Art Gallery
==Portents==
Evening Forms, acrylic on canvas and wood, 18"x22" © 2002
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Forbidden Fruit, acrylic on canvas, 26"x36" © 2001
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White Letters, acrylic on canvas and wood, 15"x10 3/4" © 2002
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Guarded White Lies, acrylic on panel, 11"x14" © 1998
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Shallow Timing, acrylic on wood, 19 1/4"x48" © 2000 (private collection)
Undone Days, acrylic & oil on canvas, 24"x30" © 2000 (private collection)
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Tremors Treading, acrylic & oil on canvas in wood frame, 25"x29" © 2000 (private collection)
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The Secret, acrylic & oil on linen, 42"x32" © 1996
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The Tongue Wags, acrylic & oil on linen, 20"x30" © 1995 (private collection)
The Tongue Wags, was inspired
by the
I Ching, Hexagram 31.6:
"The influence shows itself in the jaws, cheeks, and tongue."
[Wilhelm/Baynes]
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Impotence, acrylic on hardboard, 11"x14" © 1996
Night Watch, acrylic on canvas, 26"x18" © 1982, 1991 (private collection)
Night Watch II, acrylic on linen, 26"x34" © 2000 (private collection)
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Night Watch III, acrylic on linen, 26"x34" © 2000
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Night Watch IV, acrylic on linen in wood, 12"x15" © 2001 (private collection)
Rainy Day at the Parade, oil on linen, 20"x38" © 1993 (private collection)
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Dead Muse, acrylic, copper and nylon on cork, 30"x30" © 1999
. . . she had spent the whole day gazing up at the sky.
Evening Faces,The Tale of Genji, Murasaki Shikibu [trans; Edward G. Seidensticker]
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Overture, acrylic on linen, 14"x20" ©, 1992
QUADRIPTYCH: Hoax, Foam, Crash, Loomings
acrylic, foam, quilted linen, nylon, rubber, masonite, wood
4 (12"x12") © 1997
Quadriptych was inspired, in part, by the following excerpt from Moby-Dick:
. . .I say so strange a dreaminess did there then reign all over the ship and all over the sea,
only broken by the intermitting dull sound of the sword, that it seemed as if this were the
Loom of Time, and I myself were a shuttle, mechanically weaving and weaving away at
the Fates. There lay the fixed threads of the warp subject to but one single, ever returning,
unchanging vibration, and that vibration merely enough to admit of the crosswise
interblending of the other threads with its own. This warp seemed necessity; and here,
thought I, with my own hand I ply my own shuttle and weave my own destiny into these
unalterable threads. Meantime, Queequeg's impulsive, indifferent sword, sometimes
hitting the woof slantingly, or crookedly, or strongly, or weakly, as the case might be;
and by this difference, in the concluding blow producing a corresponding contrast in the
final aspect of the completed fabric. . .this easy, indifferent sword must be chance--aye,
chance, free will, and necessity--no wise incompatible--all interweavingly working
together. The straight warp of necessity, not to be swerved from its ultimate course--its
every alternating vibration, indeed, only tending to that; free will still free to ply her shuttle
between given threads; and chance, though restrained in its play within the right lines of
necessity, and sideways in its motions directed by free will, though thus prescribed to by
both, chance by turns rules either, and has the last featuring blow at events.
