This series alludes to icon format, windows of different architectural styles and prayer screens. The derivation of the term “mihrab” may be from the Arabic word for war but it refers primarily to the prayer niche in mosques. This series focuses on the vertical diptych format of opposing halves with configurations that link upper to lower. These suggest places of contemplation, either as windows or prayer carpets, and also the temptation of distraction when focus is required.
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These are paintings on copper. Oil paint responds differently to this surface than it does to canvas or wood. The underlying reflection of warm tones affects the reading of color overlays. This chromatic aspect accompanies nearly symmetrical structures while the images, as well as external and internal frames, are the artist’s response to the Book of Ecclesiastes.
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These paintings on wood employ layers of applied and scraped acrylic, dry pigment, and acrylic collage. The surface is drilled with circular patterns and then filled to create transparent regions. The focus here is to suggest the connection between macrocosmic and microcosmic spaces.
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