Thursday, December 13, 2018


Art is a form of communication, but does it have a tongue? Is it a language? Does it speak to us as literature does, with symbols and syntax?
Early pictographs were a hybrid of picture and writing, and once separated into art and letters, could they ever be reconciled?
If the language of art is shape and color, then it must transcend the limitations of any specific literate language. It is potentially universal in its expression while defying explicit or mundane interpretation.
Its closest analog is poetry, where unexpected juxtapositions can trigger the imagination to extrapolate worlds of meaning and significance.
From the cave wall to the gallery wall - visual, visceral, material, and timeless - Art endures as the most potent form of human communication.

The 2018 glue season begins with a pictographic experiment in biomorphic shape, where color formulas are allowed to expand within a vocabulary of wet cell forms.
It's important to remember that each cell showcases the expression of the materials themselves - the character of their chemistry. I facilitate but don't interfere.

Above - #1801, 24" x 24"
Below - #1802, 24" x 24"
Ink and watercolor suspended in polyvinyl resin glue on cradled wood panels


Saturday, July 7, 2018


#1708, Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel, 24"h x 36"w - at Ric Michel Fine Art, NY (click to enlarge)

William Loveless glue paintings are now available through Ric Michel Fine Art, New York, NY

Telephone (212) 710-1048

Friday, June 2, 2017


The individual and the collective - the integrity of the primary identity vs the give-and-take of social interaction - the iconic self at one level, the organic merging of personalities in a shared space at another level.
These themes are applied in a new series of works that combine individual formulas with a communal space in which they interact.
In this example, 55 formulas were selected and applied at random on the first layer of wet glue encompassing the format surface. Here they push and pull at each other - some establishing dominance, others being contracted by their companions; some merging, others remaining distinct.
Once dry, their relationships become a history of permanent record. A fresh layer of glue is then applied on top, "pushing back" the first layer with a milky translucence once dry..
Finally, individual wet cells are created in which the original 55 formulas are allowed to grow separately.

(Above) #1616, Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel, 36" x 36"

Click to enlarge

Friday, April 7, 2017


#1602 (Hex test), 24"h x 18"w, Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel

The first acid test for new formulas, Spring 2016.
I've introduced a tighter grid to allow more tests within the format space.
The hexagonal grid is based on the honeycombs of beehives, which maximizes the number of cells within a given volume. It is also more visually dynamic than a square grid, with more complex diagonal relationships implied.

Below is a photo sent by the collector who purchased the piece, as installed in their home.

Sunday, January 22, 2017

CURRENT REPRESENTATION - William Loveless Glue Paintings

Studio One 11, 68929 Perez Road, Cathedral City, CA  - (760) 770-1111 (Palm Springs area)

Fresh Paint Art, 5835 W Washington Blvd, Culver City, CA 90232- (323) 931-5835 (Los Angeles area)

Michael Warren Contemporary, 760 Santa Fe Dr., Denver, CO 80204 - (303) 635-6255  -

Red Arrow Gallery, 919 Gallatin Ave, Nashville, TN 37206- (615) 236-6575

Modern Arts Midtown, 3615 Dodge St, Omaha, NE 68131- (402) 502-8737

Eaton Fine Art, 900 W Loop Blvd, Austin, TX 78756 - (512) 323-2628 -

Wednesday, February 10, 2016


#1515 (Warm Drape), Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel, 36" x 36"

In a radical break from my usual practical and highly organized research methods I indulge in a spectacular experiment of organic formula interaction. With only a list of red and black formulas to refer to, and a working knowledge of their properties, I begin by pouring the wet glue at the top and allow gravity to pull it down into a drape-like shape within the prepared format. The formulas are introduced at random intervals as points that quickly flower and communicate with each other - creating a rich and sensual tapestry of action and reaction.
The fact that all of this interplay takes place within a single defined shape distinct from the square frame of the glue-bed format gives it a sense of "entity", suggesting a figure-ground relationship rather than a wall-to-wall field - - regardless of the myriad unique and distinct entities within.
It is many and it is one.

Sunday, January 31, 2016


#1511, Ink and watercolor suspended in polyvinyl resin glue, latex paint on cradled wood panel, 36" x 36"

Individual related formulas (small cells) are linked around communal pools (large cells) into which they are introduced together to interact freely (see communion).

The wood grain of the support panel is exposed here (sealed with several coatings of glue) in order to make the linear linkages visible.

Really had my "mad scientist" hat on here.

Click on image to enlarge