This work on paper is part of a suite of drawings began in the fall of 2018. The body of work is conceived in intervals of contrasting color, mostly black and white. Why? Because our biological ‘wiring’ finds such visuals most striking and alluring. And here, such an allure helps to splay our focus. Between the chemical yellow and the fictitious cadmium blue (thank you Charles Wright) I now believe we can leave Kansas. The jumpiness of the background yellow desires to assert itself promoting edificial structures above and over the blue, which in fact is on top of the yellow, – – or is it?

And so, even though there’s no place like black and white, Oz’s Kansas is nothing but hopeful. the chromatic binary hues promise more surprising departures to come. Once we’ve introduced more dimensions to the color game (chroma, temperature…), the possibilities grow exponentially.