0. EYE MUSIC
These are the earliest works I own up to. I was influenced by what was happening then in European music, I attempted to use similar numerical/stochastic methods to organise space as composers were using to organise time. The Czech artist Zdeněk Sýkora independently started to use very similar methods and technology in the early 1970’s
LARGE PAINTINGS 1970 -1995, and a few notes
Contrafactum is a transcription of a motet by Machault for 3 voices
Hagoromo 1 of 5 based on a Noh play
Amongst Drifting Tides – Verse & Refrain each uses material in different ways e.g., verse-refrain, closed-open, prose-verse
Vorgefühle 1 of 3 paintings about Berg, Webern and this one Schoenberg is amongst my best.
WATERCOLOUR 1982 -1985
For a period I worked mainly in watercolour, this is a small selection, later I was to take it up again but in a very different way
71-72. EUROPEAN PASTORALS. These 15 paintings are the result of the interweaving of a design cut into the paper and overlaid and woven into the lower sheet. The number, direction and position of the marks are pre-composed, as are decisions if a shape is to be simple or complex, but that still leaves room for improvisation.
PAINTINGS 1994 -1995
A Rhythm of Light. 1978. A theme that wouldn’t leave me alone, later morphed into Kruhové Vynálezy (circulr inventions), 10 paintings variously in acrylic, oil, watercolour and screen print.
In 1994 and a 10 year gap, after doing a large mural in 1993, I returned to larger paintings with 80 & 81 based strictly on numerical structures
73. CANONIC STUDIES 1992 -93
These use very strict structure not far removed from those of Eye Music
74. La lecture was a collaboration with the late Robin Freeman
78. KRUHOVÉ VYNÁLEZY 1994 -95
11 paintings various in scale and medium all based on an idée fixe from my childhood