krystynajervis
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    • About Krystyna
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  • Group Shot

    Group Shot

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Detail

    Detail


    acrylic

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Aerial

    Aerial

    48 x 48 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Perma

    Perma

    70 x 23 inches
    acrylic on cardboard

    SOLD

    plexiglass case with frame

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Swimming in a Green Sea

    Swimming in a Green Sea

    6.5 x 6.5 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Tower

    Tower

    8 x 8 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Anassazi 2

    Anassazi 2

    5 x 5 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Banquet

    Banquet

    8 x 8 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Lattice

    Lattice

    6.5 x 6.5 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Earth and Sky

    Earth and Sky

    48 x 48 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Anassazi 1

    Anassazi 1

    6 x 6 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • The Yellow Door

    The Yellow Door

    6.5 x 6.5 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Anassazi

    Anassazi

    6 x 6 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Evening

    Evening

    8 x 8 inches

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Curtain

    Curtain

    6.5 x 6.5 inches

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • The One Eyed Tree

    The One Eyed Tree

    8 x 8 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • The Blue City

    The Blue City

    8 x 8 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Three

    Three

    9.5 x 9.5 inches

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Black Kites over Jaipur

    Black Kites over Jaipur

    9.5 x 9.5 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Strange Company

    Strange Company

    8 x 8 inches

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Community

    Community

    48 x 48 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Companion to We are all in This Together

    Companion to We are all in This Together

    27 x 84 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • We are All in this Together

    We are All in this Together

    36 x 36 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Missing Pieces

    Missing Pieces

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Divali

    Divali

    36 x 36 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • The Stuff of Dreams

    The Stuff of Dreams

    48 x 48 inches

    SOLD

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Torn Dreams

    Torn Dreams

    48 x 48 inches
    acrylic on cardboard with mixed media

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.

  • Wonder

    Wonder

    8 x 8 inches

    Perforated Paintings

    Explanation Behind  The Perforated Images

    This body of  work came about as a result of a serendipitous find of a piece of cardboard packaging, lying by the side of the road.

    I had made several trips to India at this point and came away each time with an impression of a culture rich in many art forms, glorious colour and great ingenuity in the use of diverse materials.  It seemed to me that many surfaces showed perforation of some kind, be it metal, stone or fabric. I think in the case of architecture, it was to allow the air to pass freely, thus keeping the interior cool.

    I put the impressions  together  with the material I had found and started experimenting . Paper is a very common material in India , so it was a natural thing to choose cardboard over something more sophisticated. The challenge lay in marrying the two elements of markmaking  and material with a suitable image or concept. Some pieces evolved into revealing more of the core  of the material, some less. The surface had to be thoroughly primed and sealed before any paint could be applied. The medium I selected for this work was acrylic. Each required a lot of looking, introspection and decision making.  Clearly , there was a strong abstraction element that ran through all of them. Because of their fragility, in some cases, it was necessary to protect them. I wanted something strong yet totally non intrusive. Putting them in large plexiglass boxes was a good decision as not only were they protected but it implied a sense of “ specialness “ which contradicted the rather poor and commonplace material. The smaller ones were matted and framed and put under glass in most cases.

    It was a very pleasant , satisfying and absorbing process, one that I could go back to at some later point.