Tuesday, February 26, 2013


#1223, Chromatic Gradient Strategy, 36" x 36". Ink and watercolor suspended in polyvinyl resin glue on wood.

First large 36" x 36" painting of the season. If you know something about the difficulties of my working process then you can understand the apprehension I feel as I begin a project of this magnitude. The larger the working surface, the higher the risk - from laying down the successive layers of the glue bed to dropping the expansion events.
I take a deep breath and begin with a single drop in the center and work my way out over a period of several days - slowly, methodically, carefully. And between drops I breathe.
Planning the piece is a lengthy process in itself involving hand-drawn grids, scrawled formula numbers, and meticulous color drawings - which can take weeks to evolve.
A symmetrical arrangement of formulas, 4 identical quadrants mirrored. Neutral greys and blacks in the central crux. Dominant hues in horizontal rows gradually shift from warm purple/violets near the center to red, orange-yellow, green and finally cool blues at top and bottom.
All but the single central formula are repeated four times, giving ample oppurtunity to compare the subtle variations of each expansion.
Click to enlarge and see in greater detail.

Saturday, February 16, 2013


Primary Set - 3 single-event glue paintings side-by-side, each 3.5" square.

Back to basics - a feeling that all is right with the world, that simplicity is real and within me, that all is in order and the center is secure.
As an artist friend once said to me, "Simplicity is bliss."

Thursday, February 14, 2013


A slideshow of 2012 expansion events. Details of glue paintings by William Loveless.
Music by Bob Jones. http://www.bobjonesart.com/

Monday, February 11, 2013


Binary Triptych (#1219/1220/1221), each 14" x 14", ink and watercolor suspended in polyvinyl resin glue on wood panels.

Binary -
Consisting of two
Involving a relationship between two alternatives
A whole composed of two

Triptych -
A set of three panels side by side bearing pictures or the like

Each module of this triptych is composed of two color sets - the first set being two vertical rows on the left in which dominant hues are arranged in a consecutive order. The dominant hues are repeated in the second two rows with different formulas to make an alternate pair.
This strategy allows for maximum optical variety while setting up a resonance between the pairs that unifies the individual modules and sets up a rhythm carrying through the triptych as a whole.
(Click on the image to enlarge.)
Complicated to explain; and that's why i suppose they say a picture is worth quite a few words....

As of this writing, this set of paintings is available through Fresh Paint Art in Culver City, CA.

Tuesday, February 5, 2013


#1217 (King's Court Strategy), 18" x 18", Ink and watercolor suspended in polyvinyl resin glue on wood panel.

The King's Court Strategy places the lightest hue (yellow) at the center of the grid surrounded by four symmetrical (mirrored) quadrants of attendant color formulas.
In the overall composition the hues also progress from the center outward both in value (light to dark) and in temperature (warm to cool).
The fact that the individual formulas are the same within each quadrant allows the viewer to compare the variations identical formulas can produce. They are the same but not the same. They are the offspring of identical parents but grow in their own way and establish their own sibling identities.
A study for a much larger work yet to come.

As of this writing, this piece is available through Fresh Paint Art, Culver City, CA.

Next post: What the hell is a BINARY TRIPTYCH??

Friday, February 1, 2013


#1216, 10" x 10", Ink and watercolor suspended in polyvinyl resin glue on wood panel.

It appears simple enough - minimal and austere, even. Yet it's taken years of testing and research just to get this tiny variety of successful black formulas - they've remained the most elusive.
I've always hoped to eventually produce an all-black piece like this because of its elegant graphic quality and the emphasis it places on pattern rather than color - a switch from my usual work where color dominates.
Though modest in scale and discrete in its allure, it is a key work and something of a milestone in my repertoire. And so far, unique.

As of this writing, this piece is available through The Red Arrow Gallery in Joshua Tree, CA.

Next post: The King's Court Strategy....