S/P as a Disturbance of Polyrhythms is a painting that quickly followed A Rhythm of Edging. It was excruciating to paint. I ended up simply abandoning it. I looked at it again after a couple of weeks and found that I love it. Another reason I love my hermetic processes.

A series of hand-painted fields of circles meet within a geometric structure of arcs that are an interplay of the overall width and height of the canvas. The figure is my silhouette as I paint the work. Figuration and abstraction are woven through every element of the picture such that it is impossible for me to distinguish between the two. Perhaps the work is a challenge to this division? Could the distinction between abstraction and representation be as misleading at that between form and content? Of course, there are stark differences, but why should a circle not enter into the realm of creaturely beings? And why should a represented figure be anything other than an abstraction of the thing it is pointing to? The categories of Modernism are only useful, today, as curious relics of a time when everything had melted into thin air; suddenly it became possible to get high on the scintillating fragments of a godless world.