18" x 24"

Acrylic and mixed media on wood panel

Key Themes  Evoked in this Painting

• Connection & Interdependence:
  The web of lines and circle arrangements naturally allude to human relationships, networks, and the bonds that tie individuals within a collective.

• Cycles & Nature’s Rhythm:
  The repetition of 12 circles mirrors universal cycles—months of the year, seasons, phases in nature—suggesting the enduring rhythms and flows that shape life.

• Individuality within Unity:
  Each circle boasts its own unique color and texture, symbolizing personal identity and selfhood, while the grid and linking lines highlight belonging within a greater whole.

• Growth & Transformation:
  The layering, overlapping forms, and evolving internal details celebrate processes of change, emergence, and renewal tied to both personal and natural phenomena.

• Joy, Wonder & Discovery:
  The playful color contrasts, energetic mark-making, and dynamic composition invite curiosity, optimism, and a sense of exploration.

• Balance & Harmony:
  Despite each element’s uniqueness, the composition is visually balanced, fostering a sense of peace, order, and completeness.

Emotions 

• Hope & Optimism:
  Through lively brushwork and radiant color, convey the possibility of renewal and positive connection.

• Belonging & Togetherness:
  The linked circles reinforce sentiments of solidarity, inclusion, and mutual support.

• Contemplation & Peace:
  The organized repetition and soothing color transitions offer calmness and meditative balance.

• Exuberance & Creativity:
  Celebrate spontaneity, playful invention, and the joy of creative expression.

   

This painting is compared to the previous painting in this blog -

 

Composition and Structure

• Both paintings share a fundamental structure: a geometric grid featuring 12 prominent circles arranged in rows and columns.

• New painting (Image 1):

  • The upper section of the composition is divided, with layered squares and rectangles, and contains several circles and arcs outside the main grid. This part is busier, incorporating collage-like textures, lines, and overlays.

  • The circles in the grid feel less uniform in treatment, with each containing more individualized details—such as polka dots, squiggles, overlays, or contrasting colors and markings.

  • Additional medium and small circles are scattered around the grid, creating a livelier and more complex spatial dynamic.

• Previous painting (Image 2):

  • The grid of 12 circles dominates nearly the entire field. The circles appear more consistently treated, mostly similar in size, outline, and internal cross markings (yellow lines and sketch-like texture).

  • No external decorative circles or intensely layered squares are visible outside the main grid.

  • The overall composition is more rigid and centralized, maintaining an even visual rhythm.

Color Palette and Mood

• New painting:

  • Features a much greater variety and vibrancy in color—especially in the top segment, which includes bright yellows, reds, pinks, and fresh greens.

  • Circles are differentiated with vivid interior details, pinks, whites, and light green shapes, bringing energy and contrasting elements into the facial grid.

  • The background has a richer, more dynamic layering of colors, with visible brushwork, patterns, and overlays.

  • Mood: Playful, energetic, with a sense of creative experimentation and movement.

• Previous painting:

  • Employs a more restricted, earthy, and subdued palette—browns, olive greens, slate blues, pinkish-mauves, and muted golds.

  • Less differentiation between circles; most share similar internal textures and colors, relying primarily on subtle shifts in hue and value.

  • The grid’s background is more uniform, with fewer dramatic overlays or color breaks.

  • Mood: Meditative, harmonious, with an emphasis on order and serenity.

Texture, Mark-making, and Layering

• New painting:

  • Displays a greater range of texture and mark-making. Scratched lines, layered collage, and gestural marks create tactile complexity across the canvas.

  • The upper half’s use of geometric overlays, scribbles, and transparent washes gives the work an almost collage-like or mixed-media feel.

  • Circles vary internally—some with dots, crosshatching, or bold bands—emphasizing individuality.

• Previous painting:

  • Mark-making is subtler and more uniform. Most circles contain similar scratchy lines and cross marks, with thin outlines (sometimes blue, sometimes maroon or green).

  • The painting as a whole feels more painterly and less collage-driven.

  • The surface is visually quieter, giving space for the eye to rest.

Symbolism and Interpretation

• New painting:

  • The diversity within the circles, the lively overlays, and the distinct dual-zoned structure (top panel vs. grid) invite multiple readings: nature’s chaotic abundance, the interplay of order and unpredictability, or a confluence of individual and collective experience.

  • The addition of circles and elements outside the grid softens the sense of strict order and hints at growth, discovery, or “stepping outside the box.”

• Previous painting:

  • The repetition and uniformity stress unity, balance, and completeness—emphasizing holistic cycles and universal rhythms.

  • The absence of “external” elements keeps the focus on collective harmony and order.

     

    The arrangement of circles in this painting significantly shapes how viewers interpret the work, inviting a range of associations and emotional responses:

    • Order vs. Freedom: The grid structure brings a sense of organization and systemic unity—evoking calendars, scientific charts, or communal networks. This encourages viewers to interpret the circles as integral parts of a larger order, such as cycles in nature, the passage of time, or interconnected communities.

    • Visual Rhythm and Movement: The subtle variations in spacing, size, and internal detail within each circle create a lively visual rhythm. This guides the viewer’s eye across the painting, fostering a sense of movement, pulse, or the dynamic flow of relationships and interactions among the circles.

    • Balance of Individuality and Collectivity: Although the grid establishes overall harmony, each circle’s unique colors, textures, and marks highlight individuality. Viewers may interpret the artwork as a metaphor for diversity within unity—showing how unique entities coexist and contribute to a cohesive whole, much like members of a community or elements in nature.

    • Connection and Interaction: Lines weaving between and among the circles reinforce the theme of interconnectedness, making it easy for viewers to connect the composition to ideas of human relationships, shared experiences, or mutual support.

    • Symbolic Resonance: The repetition of the circles draws associations with time (months, hours), natural cycles, or spiritual symbolism of fullness and completeness. The circles themselves—traditional symbols of wholeness and infinity—enhance this sense of enduring cycles and cosmic harmony.

    • Breaking Boundaries: Any deviations from strict symmetry, such as overlapping or offset circles, or the inclusion of additional forms outside the grid, suggest outward growth, exploration, or transformation, prompting viewers to think of evolution, boundary-crossing, and creative emergence.

    Ultimately, the arrangement invites viewers to interpret the painting as an exploration of structure and spontaneity, unity and difference, order and transformation—all central themes that the eye discovers in the intricate play of circles, lines, and color. The visual design becomes a catalyst for contemplating the rhythms, relationships, and cycles that shape both nature and human society.

     

 

 18" x 24"

Acrylic and mixed media on wood panel 

NFS 

This dynamic mixed-media painting offers a compelling exploration of structure and spontaneity, making it a significant piece for a discerning collector. While abstract in its execution, the artwork delves into a profound sense of realism that is rooted in experience, memory, and the very process of its creation.

At first glance, the composition is anchored by a grid of twelve circles, each a unique microcosm of color and texture. These circles, rendered in a sophisticated palette of muted earth tones, suggest a sense of order and containment. They can be interpreted in numerous ways, reflecting a kind of conceptual realism:

• Portals to Memory: Each circle acts as a window, a contained memory or a distinct moment in time. The varied colors and interior markings, particularly the golden lines that resemble crosshairs or ancient symbols, hint at the unique significance of each captured experience.

• Studies in Human Connection: The circles can be seen as representing individuals within a larger community or network. The meandering white and yellow lines that weave between them serve as the threads of connection, the shared experiences and invisible bonds that unite us.

• The Blueprint of a Life: The entire canvas can be viewed as an archaeological map of a lived experience. The heavily layered and textured background, with its drips, scrapes, and energetic brushstrokes, speaks to the passage of time and the accumulation of history. The circles, then, are the significant landmarks on this personal map.

The realism of this piece lies not in a pictorial representation of the world, but in its honest and raw depiction of process. The hand-drawn, imperfect quality of the circles and the energetic, almost chaotic, application of paint in the background create a tangible sense of the artist's presence. The viewer can trace the artist's movements and decisions, making the act of creation itself a central theme. This is a realism of emotion, of thought, and of the human touch.

The tension between the geometric structure of the circles and the organic freedom of the background creates a powerful visual dialogue. It mirrors the way we strive to find order and meaning within the beautiful chaos of life. This is a work that will continue to reveal itself over time, offering new interpretations and deeper connections with each viewing.

The 12 circles in the painting powerfully symbolize unity and wholeness through their composition, repetition, and interconnectedness. Here’s how these visual elements work together to convey these themes:

• Repetition and Order: The deliberate placement of the circles in an organized grid hints at structure and completeness. Twelve is a significant number, often associated with cycles (e.g., months of the year, hours on a clock, zodiac signs), which deepens the sense of universal wholeness.

• Interconnected Lines: The white, flowing lines weaving between the circles bind them visually, suggesting connectivity. These energetic threads imply that each circle, while distinct, is an integral part of a larger collective—reinforcing a sense of mutual reliance and togetherness.

• Visual Harmony: Although the circles differ in color and texture, their similar size and consistent spacing create a harmonious balance on the canvas. This visual harmony mirrors unity, as the individual differences coalesce into a single, coherent whole.

• Wholeness Within Each Circle: The recurring motif of lines and markings within each circle implies inner complexity, like microcosms that contribute to the macrocosm of the piece. Each is both self-contained and part of the collective identity, reflecting the idea that wholeness exists at both individual and group levels.

• Symbolic Associations: Circles traditionally represent infinity, completeness, and unity in art. By using this form repeatedly, the painting draws on these associations to subtly evoke a sense of universal oneness.

In summary, the arrangement, interconnected design, and symbolic power of the circles work together to make the painting a compelling visual metaphor for unity and wholeness—showing how individuality and collectivity coexist seamlessly.

This abstract painting evokes a sense of realism—despite its clear non-representational, abstract style—by using visual cues, forms, and structural references that resonate with the viewer’s experience of the tangible world. Here are the key mechanisms at play:

Circles as Recognizable Objects:
The primary motif—twelve circles—though not literal depictions, is deeply rooted in the visual language of realism. Circles are shapes found throughout reality: clocks, coins, planets, cellular structures, and more. By using circles, the painting taps into viewers’ subconscious associations with these real-world objects.

Grid Arrangement:
The almost-gridded, orderly placement of the circles across the canvas recalls human-made arrangements (windows, cabinets, calendars) as well as natural ones (the cycles of months, hours, or seasons). This structured design is a hallmark of realism, suggesting order and logic akin to maps or scientific diagrams.

Earthy Palettes and Surface Detail:
The painter’s use of muted, earthy tones (taupes, olives, slate blues, dusty mauves) gives the circles a sense of volume and materiality, hinting at stones, planets, or weathered surfaces—familiar textures found in the real world.

Surface Markings and “Wear”:
Each circle is embellished with lines, cross marks, and subtle shading, evoking the way real objects accumulate marks of time and use. These details give the illusion of tangible surfaces and depth, enhancing the sense of realism in an abstract format.

Overlaps and Layering:
The use of overlapping lines and transparent color washes creates a sense of depth and spatial relationships reminiscent of how objects exist in physical space—foreground, background, and the interplay between them.

Shadow and Contour:
The irregular contours and darkened outlines around the circles echo shadows and light, further reinforcing a pseudo-three-dimensionality that suggests something real and volumetric.

Allusion to Time and Nature:
The repetition of twelve circles is not random—it hints at systems we know from reality (twelve months, zodiac signs, hours). This allusion to natural and human cycles grounds the painting in the rhythms of the real world, even as it remains abstract.

By skillfully fusing abstract techniques with allusions to the forms, structures, and textures of our lived environment, the artist blurs the line between pure abstraction and the suggestion of realism. The viewer is invited to “find” reality within abstraction—to perceive echoes of real things, systems, and tactile experiences within a non-representational framework. This interplay is what gives the painting its evocative power and connection to the real world.

 

 

 

 

 

10" x 10"

Acrylic and mixed media on wood panel

$250

 

This painting is a second in the Awakening series.

These 3 paintings also relate to the 3 gates of zen practice. They are -

The gate of suffering ( Awakening III )

The gate of compassion ( Awakening II) - this painting.

The gate of joy (Awakening 1) 

 

 

24" x18"

Mixed media on wood panel

$1080

"Flow State" - An Abstract Symphony of Blue and Orange

In a realm where colors dance and shapes come alive, the canvas of imagination births a masterpiece known as "Flow State." This abstract painting is a mesmerizing blend of vibrant blues and energetic oranges, forming a dynamic composition that beckons the viewer to dive deep into the current of creativity.

At first glance, the canvas appears to be a chaotic whirlwind of colors and lines. Swirling waves of deep cerulean blue seem to merge effortlessly with fiery tangerine orange, creating a harmonious yet electric contrast. The blue tones exude a sense of tranquility and calm, while the orange hues evoke passion and excitement, harmoniously coalescing into a captivating visual symphony.

The artist masterfully employs shapes and lines to guide the viewer's eye through the intricate maze of this abstract realm. Angular lines intersect with gentle curves, leading the observer on a journey of exploration and contemplation. The lines seem to weave a narrative, as if illustrating the path one takes to find their elusive flow state - a state of perfect harmony and peak performance.

Amidst the riot of colors and lines, patterns emerge, lending the painting an added layer of complexity and intrigue. Geometric shapes repeat in hypnotic rhythms, forming a cadence that resonates with the soul. The patterns offer a glimpse into the order within chaos, an acknowledgment that even in the most abstract realms, there exists an underlying structure.

"Flow State" captures the essence of being in the zone, that elusive moment when time fades away, and the artist is completely immersed in their creative flow. The canvas becomes a mirror, reflecting not only the artist's emotions and thoughts but also inviting the viewer to delve into their own introspection.

The title, "Flow State," is elegantly inscribed in the corner of the canvas, almost like a whispered secret, inviting the observer to ponder the meaning of this evocative artwork. Each viewer is encouraged to interpret the painting through their unique lens, finding their own narrative amidst the vivid interplay of colors, shapes, lines, and patterns.

As spectators gaze upon "Flow State," they are invited to let go of the constraints of reality and surrender to the abstract beauty before them. In this extraordinary symphony of blues and oranges, they are encouraged to explore the boundaries of their own imagination, experiencing the enigmatic and boundless journey that "Flow State" has to offer.

24"x24"

Acrylic and mixed media on wood panel

$1459

This painting has been reworked from an older painting from "Off The Grid" series.

‘A River Runs Through It’ is created for you to immerse yourself in a world of circles, lines, shapes and mark making as they reveal their inner secrets. This painting explores the subtle balance between order and chaos, darkness and light, structure and freedom, within the large format composition.

This is mixed media abstract and acrylic painting on a large wood panel. My process involves building up layers of paint and collage as I express myself emotionally. I work on multiple pieces at one time exploring the same idea or theme in different ways. Working on many pieces at once gives me liberty to express myself freely without getting too controlling at an early stage. As I am working, each painting speaks to me differently. It is important to allow each painting to evolve naturally. When the meaning or idea emerges, I start to make decisions about color and composition to bring the work to completion.

 24" x24"

Acrylic on wood panel

$1250

This painting has been reworked from an older painting from "Off The Grid" series.

 Many famous artists throughout history have reworked their own paintings, often multiple times. For example, Vincent van Gogh famously reworked his painting "The Potato Eaters" multiple times, eventually creating a lighter and brighter version of the same subject matter. Similarly, Pablo Picasso reworked his painting "Les Demoiselles d'Avignon" several times over the course of several years, experimenting with different approaches and techniques until he was satisfied with the final result.
Another example of an artist who reworked their own painting is Edgar Degas. He often revisited his paintings, making subtle changes to the composition and color palette over time. One of his most famous works, "The Absinthe Drinker," underwent several revisions over a period of twenty years, with Degas making significant changes to the figure's posture and expression.
Finally, the iconic artist, Frida Kahlo, often reworked her own paintings, adding or removing elements depending on her changing emotional states. For example, her painting "The Two Fridas" underwent significant changes before the final version was completed, with Kahlo adding details such as blood and a surgical instrument to reflect her own physical and emotional pain.
These examples demonstrate that reworking one's own paintings is a common practice among artists, and can lead to significant improvements and growth in their artistic ability.

 Acrylic and Mixed media on wood panel

$650

‘Beyond Logic’ is one of the paintings that is a part of a series of paintings from the ‘Moving Target Series.’ This painting is an exciting exploration of a circle as a powerful symbol spirituality, eternity and completeness.

The painting is built with several layers of glazes and collage materials using a combination of saturated and muted colors and drawing materials like pencils, pastels and oil sticks. I rotate the painting as I work on it and repeat the process until the surface is textured and gorgeous.

18' x 24"

Mixed media on wood panel

$1180

 

Mixedmedia green and yellow painting.

What attracts me to this painting?
Repeating shapes
Layers - some hidden/veiled
Complex color and value relationships
Eye movement around the painting
Visual textures, marks and lines
Wavering between depth and flatness. 

Lyrical abstraction with a dynamic orthogonal composition. Orthogonal thinking draws from a variety of, and perhaps seemingly unrelated perspectives to achieve new insights - two systems that do not interact oe influence each other come together at one point or juncture. Two lines intersecting each other at 90 degrees.
 

City Lights

Mixed media Acrylic and Collage on wood panel

12" x16"

$500

This painting is inspired by walking in Boston city at night and looking up at the tall buildings.
If you are an artist like me, you have at least a couple odd paintings lying around somewhere that will never be finished. Sanding away the old paint gives you a fabulous new surface to make new works. Sanding and glazing add texture and depth to my paintings. This painting is a great example of the effects you can achieve by sanding.
I used an orbital power sander to remove paint from an older painting to create textures and the look of peeling paint in this painting.
 

“Broccoli” a new intuitive twist on a familiar vegetable. Continuing with my series-Paint My Grocery List. #abstractfood #vegetablepainting #broccolipainting
Mixedmedia on paper
18”x 24”
This is the second item on my list.
This series allows me to explore vegetables and fruits in an abstract way with infinite arrangements and mark making. Stay tuned for the next item on my list next week. Have a fantastic day!🥦

Happy to mention that both works are accepted into the Rhode Island Watercolor Society’s national open juried show “Vision ‘22”
220 paintings were entered and only 95 were accepted. The show will be posted on their website and Facebook page. Risw.org

Exhibition Dates - February 26th - April 1st
A big thank you to juror @lorrainedesigns 
 

Woven Into The Landscape

 

Woven Into the Landscape

24" x 24"

Cradled wooden Panel

$1,500

"Woven Into the Landscape" is a mixed media acrylic painting that explores the idea of gestural lines. Gestural lines are spontaneous, rhythmic, almost animated. These lines are dynamic and have energy, not slow and controlled. They have a sense of vitality and freedom, almost like a dance.

 

Dahlia

24" x 36"

Large mixed media and acrylic

$1,775

This large abstract mixed media and collage painting reminds me of Monet's painting of Dahlias, except when you look closely at my flowers, each flower, leaf and vase is a mini abstract painting. Several layers of paint and collage were used to create this work. Some past layers are visible at closer inspection.

It was fun painting this, almost like putting a puzzle together .

 Mixed media on paper

12"x12"

$250

“Overlay” This painting is about working in an abstract way with playful geometric shapes and building up layers to conceal and reveal the layers below.

 

 

 Three Amigos

Mother and Child

Watermedia on paper

12" x16"

$350 each

Those who are familiar with my work know that i do not paint figures very often, but when i heard about this relatively new idea in art called "disruptive realism", i was intrigued. Here is my first attempt at this idea. 

John Seed has written a wonderful book about it, https://www.amazon.com/Disrupted-Realism-Paintings-Distracted-World/dp/0764358014

"Disrupted Realism: Paintings for a Distracted World"

Nicholas Wilton has a wonderful interview on You tube with the author https://www.youtube.com/watch?v=4PxkIRhBZ5Q

 

 Disrupted Realism is the first book to survey the works of contemporary painters who are challenging and reshaping the tradition of Realism. Helping art lovers, collectors, and artists approach and understand this compelling new phenomenon, it includes the works of 38 artists whose paintings respond to the subjectivity and disruptions of modern experience. Widely published author and blogger John Seed, who believes that we are “the most distracted society in the history of the world,” has selected artists he sees as visionaries in this developing movement. The artists’ impulses toward disruption are as individual as the artists themselves, but all share the need to include perception and emotion in their artistic process. Six sections lay out and analyze common themes: "Toward Abstraction," "Disrupted Bodies," "Emotions and Identities," "Myths and Visions," "Patterns, Planes, and Formations," and "Between Painting and Photography." Interviews with each artist offer additional insight into some of the most incisive and relevant painting being created today.

 

 

 

 Trip to the White Mountains I 

Trip to the White Mountains II

 

Acrylic and mixed media on paper

Matted size 12"x12"

$95 each

 

 

 

Bold, colorful and happy - combinations used in this painting include turquoise, magenta, beige , black and white. Lots of thick paint, texture and collage.