“With all my wisdom I tried to understand everything that happens here on earth. And God has made this so hard for us humans to do.”
Ecclesiastes 1:13
Ecclesiastes 1:13
122 cm wide x 152 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R22 on bottom right. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
76 cm wide x 101 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R25 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
Two substantial, open forms face a column of illuminated shapes in Ephesians 5:31. Their warm brown surfaces give them weight, while the orange passages at the center seem to hold a different kind of energy. Above them, a small suspended cube extends the composition upward into a sky crossed by restless ribbons of color.
The painting builds its tension through intervals. The structures remain distinct, yet the spaces between them make the group feel connected. Cool gray edges sharpen the central stack; pink, blue, and red currents soften the surrounding atmosphere. Across the ochre ground, lines gather into an uneven rhythm, setting the measured geometry against a world that will not stand still.
The title brings the question of union into this architectural encounter. Togetherness can be read here as a relationship between separate presences, each retaining its own outline. In the God and Man collection, this oil painting offers a particularly concentrated exchange between solidity and openness, with its central light drawing the viewer back into the space shared by the forms.
122 cm wide x 152 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R25 on bottom right. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
An orange canopy hangs above a divided, sculptural structure in Cafe Certa. Against a clear yellow field, the roof has an almost buoyant confidence; below it, two gray volumes stop short of meeting. A slender dark support stands to one side, turning the suggestion of shelter into an arrangement that feels both precise and improbable.
Small openings complicate the central mass. A dark recess punctures the upper section, while pale steps appear within the lower one, inviting the eye toward an interior that the painting never fully reveals. The ground is densely worked with intersecting bands of red, ochre, gray, and white. Its shallow platforms and channels make the space beneath the canopy as active as the structure itself.
At 122 by 152 centimeters, this version of Cafe Certa gives its invented architecture room to assert a physical presence. The warmth of the yellow and orange is balanced by the cooler, shaded faces of the central forms. What first reads as a curious building gradually becomes an encounter with suspension, access, and the uncertain boundary between a place one might enter and an object one can only contemplate.
182 cm wide x 213 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R24 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
Two red uprights rise through a field of interlocking color in The First Ever of its Kind #1. Their pointed tops and pale blue borders suggest a doubled architectural presence, but the surfaces inside them continue the restless activity of the background. The forms are clearly drawn without ever becoming entirely separate from their surroundings.
A blue barred opening at the left introduces a second rhythm, quieter and more regular than the wavering contours at the center. White and gray slabs cross the foreground, their dark joints lending weight to the lower edge. Behind this pavement, ochre planes tilt toward a space that remains deliberately unsettled. The painting continually shifts between something built, something drawn, and something seen through.
The expansive 182 by 213 centimeter canvas makes these changes of scale and depth especially significant. From a distance, the paired red forms command the composition; closer attention reveals the smaller passages of blue, gold, and gray that keep them in conversation with the surrounding field. The work rewards time through this exchange between a strong silhouette and an interior that resists a single, fixed reading.
122 cm wide x 185 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R25 on bottom left. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
A bronze-colored form stands against a broad yellow-green sky in This Painting was Created to Perpetuate My Memory. Its modeled surface suggests a heavy, freestanding object, yet its uneven profile refuses the symmetry of a conventional monument. Near the base, a rectangular opening lets the background pass through the body of the form.
Blue, black, and orange contours gather around its upper edges like successive outlines of the same presence. These bright bands are flatter and more emphatic than the shaded central surface, setting graphic energy against an illusion of mass. Below, a dark platform steadies the composition while a densely marked ground streams away in numerous directions.
The title places memory beside the physical act of making an image endure. Here, that idea finds an evocative counterpart in a structure that is substantial but not closed: it occupies space and also admits an absence. The large vertical canvas holds this tension with unusual clarity, allowing the quiet expanse of sky to amplify every turn of the silhouette and every shift between the solid center and its surrounding traces.
122 cm wide x 185 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R25 on bottom left. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
In This is Made to Perpetuate My Memory, a narrow upright stands within a succession of blue contours. The structure rises from a stepped, gridded base, combining the suggestion of a monument with the openness of a frame. Its slender central passage allows the color beyond it to remain visible, making the surrounding world part of the form itself.
The painting moves between sharply described architecture and a looser field of yellow, turquoise, pink, and gray. Dark outlines give the central construction definition, while the irregular pale blue border around it seems less like a wall than a shifting perimeter. At the bottom, repeated compartments and intersecting ground planes anchor this more fluid upper space.
The title invites the viewer to consider what an image can preserve. Rather than supplying a likeness, the painting offers a presence assembled from edges, intervals, and layers. Seen across the height of the 185 centimeter canvas, its internal opening becomes as compelling as its supports. Memory can be approached here as something held in shape without being enclosed, a reading that remains available without exhausting the painting's formal complexity.
77 cm wide x 102 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R25 on front bottom left. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
A pale, segmented tower rises through a dense blue environment in Ground (Land) Lighthouse Impaled by a Sailboat. Yellow panels illuminate its lower section, while surrounding bands bend, stack, and change direction around it. The title offers the collision of two familiar structures; the image holds that encounter within an architecture that seems to be moving on every side.
Lines carry much of the painting's energy. Repeated ribs gather across the sky and ground, creating channels that lead toward the tower before turning the eye away again. White and gray recesses interrupt this movement in the foreground. Their angled openings echo the panels above, linking the apparent solidity of the central form to the shifting terrain beneath it.
The contrast between the luminous yellow and the many temperatures of blue gives the composition a clear center without stilling its activity. At close range, individual contours become routes through an invented space; from farther away, they combine into a nearly continuous current. This oil painting invites an attentive reading of how a landmark can remain recognizable while everything that defines its setting appears to bend around it.
77 cm wide x 102 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R25 on front bottom left. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
The smaller Cafe Certa centers on a narrow, twisting upright set against layered violet, blue, and gray. A yellow projection cuts across its middle like a sudden flash of light. Beneath it, a squared platform offers a firm base, even as the surrounding bands make the structure appear caught in a slow, pervasive current.
The form's pale edge separates it from the darker atmosphere, then turns inward as the upright changes direction. Its brown interior suggests depth without settling into a familiar object. Across the ground, ochre and red marks spread outward from the base; higher in the composition, the cooler strata compress and curve, introducing the feeling of pressure around a solitary presence.
At 77 by 102 centimeters, this painting offers a concentrated counterpart to the larger work with the same title. Its distinct character lies in the meeting of a slender vertical rhythm and a broad, layered environment. The eye can follow the central shape in a single gesture, then return to discover how many small changes of color and direction sustain the space around it.
76 cm wide x 101 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R24 on front bottom left. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
A bent gray stem carries an angular, rust-colored cluster through the center of The Union of the Desire of the Heart and Reality, Conceptualized. The form seems poised between a gesture and a structure: part support, part movement, its narrow course continuing down into a pale foreground crossed by long horizontal marks.
Above it, blue shapes fan across a violet field, while a lower band of red, cream, and green breaks the horizon into uneven sections. These surrounding forms repeat the central figure's turns without simply mirroring them. Small rectangular openings bring a measured architectural rhythm into a space whose curves and tilted planes remain difficult to locate with certainty.
The title proposes a meeting between an inner wish and an external world. The painting gives that possibility a visible tension, joining the upper cluster to the ground through a support that feels both persistent and precarious. Its interest unfolds through the distance between those two regions, where a crooked line becomes the means of connection rather than an obstacle to it.
Oil on Canvas
61 cm wide x 92 cm high
PROVENANCE: On hand at artist’s studio. Signed R23 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back.
An angular orange form rises above a long architectural boundary in The Beauty of Love Metamorphizing into this Dimension, Suddenly Realizing we Have Walls Here. Below it, ochre passages sweep through the foreground; above it, pale blue planes overlap across an unsettled sky. The scene feels expansive, yet its rails, platforms, and edges continually interrupt the possibility of open movement.
The elevated horizontal structure gives the painting a strong measure of distance. Its repeated compartments lead the eye across the canvas, while the more loosely handled ground turns in a different direction. A small, open rectangular form at the right sharpens this contrast between a place that appears to welcome entry and one that remains difficult to navigate.
The unusually searching title allows the architecture to be approached as an emotional condition. Love entering a world of boundaries is not resolved into a simple symbol; it remains a question carried by the painting's spaces. Warm, active surfaces and cool, broken expanses offer different kinds of freedom, encouraging the viewer to consider how an imagined openness changes when it takes visible form.
Oil on Canvas
61 cm wide x 92 cm high
PROVENANCE: On hand at artist’s studio. Signed R13 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back.
A slender red-orange support rises from a pale base to a broad, tilted cap in The Unconscious Manifestation of Reality, Pt. 7. Around it, blue and white marks coil through the upper field, while detached ochre and gray shapes turn through the middle distance. The central construction has the clarity of a drawn sign within an environment of insistent movement.
Much of the composition's force comes from this difference in touch. The relatively open faces of the base and cap interrupt a surrounding density of short marks, loops, and irregular contours. A red edge at the bottom finds an echo in bright accents higher in the painting, giving the eye a sequence of points to follow through the animated surface.
The title leaves room for a reality that emerges before it is fully explained. Here, the upright provides continuity without imposing order on everything around it. The painting can be read through its striking central silhouette, or through the many smaller encounters between warm fragments and cool currents. Those readings remain connected by a precarious-looking support that gives the whole scene its distinctive balance.
Oil on Canvas
50 cm wide x 76 cm high
PROVENANCE: On hand at artist’s studio. Signed R22 on front bottom left. Artists seal and Certificate of Authenticity in Sleeve on back.
A solitary brown tower stands within a deeply layered blue sky in The Relationship Between Gratitude and Loneliness. Its long, divided profile rises from an angular base, while broad forms to either side turn outward into the surrounding landscape. The central presence is distinct, but the entire scene appears to move around and through its position.
The cool upper field is crossed by red, gray, and muted yellow, giving the atmosphere a density that counters the tower's relatively quiet faces. Below, curved ochre passages and pale ridges draw the eye across the ground. The flanking structures introduce a feeling of extension without becoming companions of equal height, leaving the vertical form both supported by its setting and visibly alone.
The title holds two emotional states together without declaring them opposites. The painting offers room for that ambiguity: solitude can feel exposed, yet the surrounding world is far from empty. Its strength lies in the balance between the concentrated central silhouette and an environment full of movement, a relationship that changes as the viewer attends first to the figure and then to the space sustaining it.
61 cm wide x 91 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R23 on front bottom left. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
A tall yellow construction commands Holding Pattern, Direct En Suite Estate View. Dark edges articulate its changing planes, while a large pink panel opens to the right. Around this central architecture, blue channels and repeated yellow marks curve across the sky, giving a seemingly stationary object a setting charged with circulation.
The upper field is organized into ribs, bends, and nested borders. These patterns find a looser counterpart below, where gold, white, and black strokes converge near the foot of the structure. The eye is drawn upward by the central vertical, then carried around its perimeter by the surrounding bands, as though the composition were continually returning to a place it had already reached.
The title's suggestion of waiting is given an active visual form. Nothing is simply at rest: even the strong yellow surfaces are interrupted by recesses and shifts of angle. This oil painting brings architectural clarity together with a lively, almost restless surface, offering a sustained exchange between the impression of arrival and the feeling that movement is still taking place.
Oil on Canvas
50 cm wide x 76 cm high
PROVENANCE: On hand at artist’s studio. Signed R22 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back.
A gray, faceted monument occupies the center of Early Obelisk, Landmark #5. Its tapered body broadens toward the ground, and a narrow dark division runs through the front. Behind it, a blue sky is crossed by pale, irregular bands that gather and change direction around the structure's peaked upper edge.
The largely monochrome monument and ground give unusual prominence to the blue beyond them. Soft shifts of gray model the individual planes, while darker seams preserve the sense of a constructed body. In the foreground, loose, curved marks extend the scene without providing a fixed route toward the upright; their movement offsets the measured geometry of the central form.
The work's title identifies a landmark, yet the surrounding space remains open to interpretation. The obelisk provides a point of orientation within a world whose lines refuse to become a stable horizon. Its compact vertical format concentrates attention on the encounter between an enduring-looking object and a more changeable atmosphere, making the silhouette a starting point for repeated, unhurried looking.
76 cm wide x 101 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R22 on front bottom left. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
Two pale, tapered pillars stand before a broad yellow double form in Two Dimensions, Depth and Height Actualized. Their unequal heights establish a quiet rhythm, while an opening between the larger shapes reveals the blue-gray space behind them. The arrangement is spare, allowing small differences in angle and proportion to carry much of its expression.
Light gray planes describe the pillars and their flared bases. Across the foreground, shallow, folded forms lie close to the ground, contrasting with the verticals that rise beyond them. The restrained color keeps the viewer attentive to edges, shadows, and intervals: depth emerges from overlap and separation as much as from the modeled surfaces themselves.
The title brings the experience of looking directly into the work. Height is immediately apparent, but depth must be read through the relationships among forms that all occupy the same painted surface. That simple tension gives the composition its contemplative character. The painting offers an especially clear view of architecture becoming an idea about space, with the central opening remaining as significant as either pillar.
91 cm wide x 61cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R22 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
Two pale uprights stand before a broad, divided structure in The Representatives of Time and Space. Set within a horizontal canvas, the group has a quiet, almost ceremonial balance. A narrow arch-like opening separates the larger forms at the back, letting the muted blue atmosphere enter the center of the arrangement.
The restrained palette places emphasis on proportion and distance. One foreground pillar rises higher than the other; both broaden into irregular bases that meet the gently shifting ground. Soft gray shading gives the forms volume, while dark contours hold their profiles apart. A low shape between them introduces a further interval, encouraging the eye to move into the scene rather than stop at its front edge.
Time is not pictured as a clock, nor space as a measured plan. The title instead invites these presences to be considered in relation to one another: near and far, taller and shorter, separate and connected. Within the God and Man collection, this painting offers a notably spare architectural meditation, where a limited group of forms creates a spacious field for attention.
76 cm wide x 101 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R23 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
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