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.
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.
