| Title | Date | Views | Brief Description |
|---|
| The phenomena of nature as interpreted in experimental painting |
1962 |
236 |
The structures of the earth emerged through creation, and became a part of the universe and a vastness a part of an immensity in time and space. Their being is affixed to a network of patterns far wider than man's views. It is an unlimited, unmeasura... |
| People and patterns |
1962 |
149 |
In our society there is more talk of and less freedom. We live in a confining world of people and patterns. It is difficult, if not impossible, to separate the people from the patterns. People create patterns in their desire to conform or to be nonco... |
| Elements of creativity and destruction in science and art |
1962 |
223 |
The term "creativity" has different meanings for different people, and many of these meanings are contradictory. I find it necessary to examine this term from my own point of view in order to avoid confusion. I believe that there are different levels... |
| The fulfillment of a part of earth's furthest dream which is assigned to me |
1963 |
329 |
Painting is proverbially difficult to define and explain. The reason for this difficulty lies partly in the subject itself and partly in our attitude toward it. The production of a painting is a mysterious process; it is fulfilling a part of the Eart... |
| Painting and collage : search, surface, and surprise |
1963 |
266 |
Search from a painter's point of view is a pre-condition of personal creativity. If I knew all the ways of searching, I would be more than one person and that, of course, is impossible. The painter is ONE, one who moves in the direction of his choice... |
| The design structure of my paintings with special reference to color, shape, and space |
1965 |
254 |
Design structure is the basic underlying principle found in all my painting. This design structure is not just a well ordered arrangement of colored shapes on canvas, but a balance of expression and disciplined structure. Like many artists in history... |
| The void and tensions in landscape painting |
1959 |
233 |
I believe that every artist must have a subject to paint, whether it be landscape, figures, still life, or himself. The relationship of the artist to the subject is more important than tae subject alone. By painting what is familiar, what excites, wh... |
| The nature of twenty paintings |
1959 |
168 |
The very foundation of man is his philosophy of life and this begins with his concept of himself. While there are certainly other contributing factors to man's inability to find himself today, it is my belief that machine efficiency and specializatio... |
| A personal artistic philosophy |
1961 |
207 |
My paintings are made up of images, to some extent abstracted but for the most part recognizable. Evan large areas of canvas which may seem vacant are objects or part of objects. A blue and white checked area is not merely decoration, but a sheet hun... |
| An investigation of some refined aspects of tension in painting |
1960 |
338 |
In the midst of the creation of a painting, there sometimes cones a feeling that art is a contradictory affair, disordered, yet ordered; without direction, yet somehow directed; free-wheeling, yet responsible; at once personal and universal. Therefor... |