In a broad sense, I am an abstract artist. All my work is non-representational, focusing on the interaction of color. But the term “abstract art” encompasses a wide range of styles and techniques.

Here Is What I Am Not:

• An Abstract Expressionist: this movement is characterized by spontaneous, gestural brushwork and an emphasis on expressing emotions and feelings. Artists like Jackson Pollock and Willem de Kooning are associated with this style.

• A Lyrical Abstractionist: a type of Abstract Expressionism, this style is characterized by a more intuitive and personal approach to abstraction, often incorporating expressive brushwork and vibrant colors. Arshile Gorky and Joan Mitchell are associated with Lyrical Abstraction.

• A Tachisme Painter: this is a style of Abstract Expressionism that emerged in the 1940s and 1950s and is characterized by spontaneous brushstrokes and the use of chance. Artists like Hans Hartung and Pierre Soulages are associated with Tachisme.

• A Cubist: primarily associated with Pablo Picasso and Georges Braque, Cubism involves breaking down objects or scenes into geometric shapes and representing them from multiple perspectives simultaneously.

• An Abstract Surrealist: combining elements of abstraction with surrealistic imagery, this style often involves dreamlike or fantastical scenes. Yves Tanguy and Joan Miró are associated with this approach.

Styles Related to My Genre of Contemporary Op Art:

There are several styles of abstract painting that have some relation to my work, including:

• Color Field Painting: artists such as Mark Rothko and Barnett Newman are known for Color Field Painting. This style focuses on large areas of flat color and the emotional impact of color on the viewer.

• Minimalism: Minimalist abstract art is characterized by simplicity, clean lines, and a focus on the essential elements of art. Artists like Donald Judd and Frank Stella are associated with this style.

• Suprematism: an art movement founded by Kazimir Malevich, Suprematism is characterized by non-representational geometric shapes and a focus on the fundamental geometric elements of color, shape, and line.

• Geometric Abstraction: this style involves using geometric shapes and forms to create abstract compositions. Artists like Kazimir Malevich and Piet Mondrian are notable figures in geometric abstraction. While my work certainly employs geometric shapes – especially the use of nested and aligned squares – this is a broader term that can incorporate Op Art.

Contemporary Op Art:

I identify myself as a Contemporary Op Artist. Here is a brief history of Op Art:

Op Art, short for Optical Art, is an art movement that emerged in the 1960s. It is characterized by the use of optical illusions, geometric patterns, and precise, often repetitive, arrangements of shapes and colors to create visual effects that can be disorienting or create the illusion of movement. Op Art aims to engage the viewer’s perception and create optical effects that challenge the boundaries between two- and three-dimensional space.

Key characteristics of Op Art include:

• Optical Illusions: Op artists often create visual illusions that trick the viewer’s eye. These illusions can include the perception of movement, vibration, or the appearance of three-dimensionality on a flat surface.

• Geometric Patterns: Op Art frequently employs precise geometric shapes, such as lines, squares, triangles, and circles. These elements are often arranged in intricate patterns to achieve specific visual effects.

• Contrast and Vibrancy: Op Art relies on strong contrasts of color and value to enhance the optical effects. Vibrant and contrasting colors are often used to create dynamic visual experiences.

• Repetition: repetition of geometric shapes and patterns is a common feature in Op Art. The repetitive nature of these elements contributes to the optical illusions and enhances the overall effect.

• Flat Surfaces: Op artists typically work on flat surfaces, such as canvas, to emphasize the two-dimensional nature of their compositions. However, the careful arrangement of shapes and colors can create the illusion of depth.

Here are the ways I employ the above characteristics in my painting:

Optical Illusions:

I have an ongoing series of pieces I call my “Asterism Paintings.” This refers to the star that appears as an “X” as the colors merge imperceptibly from dark to light or light to dark. I borrowed the term from gemologists who use it for gems such as the Star Sapphire or Tiger Eye, which are known for the appearance of a line or X within the stone.

Why does that “X” appear in my Asterism paintings? This visual deception is an example of simultaneous contrast.

Simultaneous contrast, or the contrast effect, is a visual phenomenon where the perception of one color is affected by the presence of surrounding colors. Specifically, the brightness, saturation, and even the hue of a color can be altered by the colors surrounding it.

There are two types of simultaneous contrast: successive contrast and simultaneous contrast. Successive contrast occurs when the perception of a color is affected by the colors that came before it. In contrast, simultaneous contrast occurs when the perception of a color is affected by its surrounding colors.

The simultaneous contrast effect is powerful when the adjacent colors are complementary, meaning they are opposite on the color wheel. For example, red and green are complementary colors, as are blue and orange, and yellow and purple. When complementary colors are placed next to each other, they can create a strong contrast effect, with each color appearing more vibrant and intense.

In addition to complementary colors, the simultaneous contrast effect can also occur between colors that are not complementary but are simply different in brightness or saturation. For example, a medium gray color may appear darker when placed next to a white color, and lighter when placed next to a black color.

Click here for examples of my Asterism paintings: 

Geometric Patterns:

All my work employs hard-edged geometric shapes – primarily squares and lines. I have yet to do a painting that wasn’t on a square surface – 6” X 6”, 12” X 12”, 24” X 24”, and 36” X 36”. Across that square surface I often lay out squares and diamonds, and sometimes circles, followed by subsequent layers of squares or lines.

I have been influenced by the work of Josef Albers and his “Homage to the Square” series.

“Homage to the Square” is a series of paintings created by the German-born American artist Josef Albers. Albers, a key figure in the Bauhaus movement, began the series in 1950 and continued working on it until his death in 1976. The series consists of hundreds of paintings, all featuring a composition of nested squares of various colors.

The primary focus of “Homage to the Square” is the exploration of color interaction and perception. Albers was interested in how colors could influence each other when placed in proximity and how the viewer’s perception of a color could be altered by its surroundings. The series became a systematic exploration of the effects of color relationships within the constraints of a simple geometric form—the square.

Another series of my paintings explores the interaction of lines of varying colors above a surface layer of geometric shapes. I have titled these pieces my “Interreticulation Series.” This term refers to the mesh or grid of lines – or “reticulation” – that lies on top of a series of nested squares, diamonds, or circles.

Click here for examples of my Interreticulation Series of paintings:

Contrast and Vibrancy:

I carefully select the hue, saturation, and value of each color on each layer to gain the optimum interaction of color. This interaction creates effects in the viewers’ eyes that contribute to optical illusions, such as tension, vibrancy, and three-dimensional deceptions.

One of these illusions is called Chromostereopsis, which is a visual phenomenon where the perceived depth or 3D effect of objects is influenced by their color. In chromostereopsis, objects of different colors appear to be at different depths when viewed against a background, even when they are actually at the same physical depth. This phenomenon is not well understood and can vary from person to person.

The most common example of chromostereopsis involves red and blue colors. When red and blue objects are placed on a neutral background, the red object often appears to come forward while the blue object appears to recede. This effect is due to the way our eyes process different wavelengths of light. Red light has a longer wavelength, and blue light has a shorter wavelength. The human eye’s ability to focus on these different wavelengths can cause an apparent disparity in depth perception.

The interaction of complementary colors can result in various optical effects, primarily due to the way our eyes perceive and process different wavelengths of light. Complementary colors are pairs of colors that, when combined, produce a grayscale color like white or gray. The primary complementary color pairs are:

• Red and Cyan: When red and cyan (blue green) are combined, they create white light. This interaction is often used in color photography and displays.

• Green and Magenta: Combining green and magenta (a purplish red) also results in white light. This is used in color printing and displays.

• Blue and Yellow: The combination of blue and yellow creates white light. This is commonly seen in various color mixing applications.

The optical effects caused by the interaction of complementary colors include:

• Color Cancelation: When complementary colors are mixed, they tend to cancel each other out, producing a neutral or grayish color. This phenomenon is used in various color correction processes in photography, printing, and other visual arts.

• Enhanced Intensity: Placing complementary colors next to each other can enhance the intensity and vibrancy of each color. This effect is often used in art and design to create dynamic and visually striking compositions.

• Afterimages: Staring at a vivid color and then shifting the gaze to a white surface can produce afterimages in complementary colors. For example, staring at a red object and then looking at a white wall may result in a green afterimage.

• Simultaneous Contrast: Placing complementary colors adjacent to each other can create a visual phenomenon known as simultaneous contrast. This makes the colors appear more vibrant and intense due to the way our eyes perceive differences in color. Read my earlier blog regarding Simultaneous Contrast.

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View my Asterism Series of Paintings: