This predominately white painting also includes vertical multi-colored parallel wavy lines with linear texture. In this photograph of the painting, the studio floor of the artist is visible.
This square painting consists of two yellow sections with grid patterns and texture. Across the surface is a rough swath of purple which reveals the scratched and grid pattern texture of the underlying layer.
The horizontal painting is divided into colorful geometric shapes. Across the bottom edge are five large and dark comma shapes and across the top edge are small similar marks.
The sculpture consists of a yellow head shape with a secondary face appearing in an oval shape on the surface. Protruding vertically out of the top of the head are three leaf like covered elongated shapes.
The horizontal painting is divided into two large and one narrow sections. Each are decorated with grid patterns and connecting the two larger vertical sections is a large white X.
The horizontal painting is divided into three basic geometric shapes. Each is decorated with a grid pattern and across the yellow section is a large black swath of paint in a vertical comma shape.
The horizontal painting consists of several geometric shapes in blues and oranges. Across the surface is a large yellow green swath arcing across the canvas.
The horizontal painting is divided into several divisions. Grid patterns in various incarnations cover the surface and foiling this are two horizontal dark drips of thick paint.
The square painting consists of a blue background upon which the scratched grid reveals an underlying pattern of egg shapes. Across the center of the painting are four bright orange streaks, horizontal and vertical.
The horizontal painting is divided vertically into two sections across which run horizontally running amounts of thick paint. Drawn onto the surface of the canvas is a grid.
The horizontal painting consists of two grid patterns angled toward each other. Across the surface of the canvas is a large lime green area of thick paint that runs toward the bottom edge of the canvas. A pink wedge runs across the lower right.
The piece includes sewn copper foil with torch-fired vitreous enamel in pattern of artist's right thumb print and is in the shape of a teapot. This view shows the detail of the artist's right thumbprint.
The horizontal painting is divided vertically into two portions, both of which share a grid pattern texture. Sweeping across both dark and light areas is a large black swath revealing the various textures and grids. A light pinkish color of thick paint appears splattered and squirted in the lower portion on the right hand side of the painting.
Four paintings are hung in a square grouping. Three of the panels are predominately orange and black while the upper right hand panel is a light green with black wavy vertical lines.
The square painting consists of a purple ground that has been scratched through with a grid pattern. Horizontally across the top portion is a loose yellow brush stroke and across the bottom edge a similarly hued stripe.
The sculpture consists of two brown shapes resembling seed pods. Each half has an interior texture. Around the edge of each half are hinges with small wheels on the ends.
The sculpture depicts a large blue-green hand with four fingers outstretched. A pink spiral circles the back of the hand and crosses over three vertical black bar openings.
The slug shape forms the base and emerging from the top of it are two pipes terminating in funnel like shapes one of which is covered. In the surface of the lower portion are two circular screen covered openings.
The square painting consists of a layering of grids. Variations in the colors in the bottom layer of paint creates shapes which the scratched out grid lines reveal. On the top most layer are three vertical streaks of a light color paint.
The rectangular painting consists of two portions divided diagonally and across both divisions marches a series of orange vertical strokes. The dark green and pinkish portions are further delineated with grid patterns.
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