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.
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.
