Index Theoretics

Acrylic Paintings

After the watercolor interval I dove into acrylic paintings but produced only eight works before that phase evolved into Impasto Limoso. I started with another version of 'the Goodrich Blimp' (which will make an appearance here eventually) before diving into E=FT and the rest of the series. Of course I had to embellish the works with wooden frames. Although I never returned to watercolors I managed to turn out two more embroideries during my acrylic period as well as finish up the sculpture, Inquire Within.

All of these works were simply manifestations of the need to create. Beauty, truth and humor were the qualities I chose to express in the expectation that to some degree I would grow into a human being who exhibited those qualities and would become more real. As you'll find throughout this site, tap or click on the thumbnail images to see the lightboxed bigger versions.



36" W x 56.75" H

For most of my life I've been beset with a need to understand the nature and structure of reality. A series of inspirations and experiences had allowed me to grasp something of those realities intuitively. I felt a pressing need to express that understanding in some form. I'd written about a unified field theory many times but the complexity of the visualization needed to comprehend the concept didn't yield a satisfactory result in language so I turned to art. My second acrylic painting was devoted to that subject. I don't think it will lend itself to immediate understanding but there's a lot about the structure of waveforms, transformations of energy and the like built into the work. Although I had intended to add the 3D clock face back when this painting was first created. It was finally completed thirty-three years later.


Love It Or Leave It

46" W x 58.5" H

Love It or Leave It is the only artwork I've ever done in anger. In 1982 President Reagan renamed the MX Missile "The Peacekeeper." People were applauding the chains of their own slavery to fear. The reality of nuclear horror was redefined as goodness. That sophistry pushed me over the edge. So I created this painting with a watch fob (made out of maple) from which dangled an MX Missile given the more appropriate name, Lucifer's Legacy.


Miami Who?

35" W x 52" H

In the early 1980's I made the acquaintance of John Ayers, an offensive lineman for the San Francisco 49'ers. He stopped by my studio/woodshop in a marina on several occasions because he loved woodwork. In our rambling conversations of woodwork, life and families we never once discussed football. Because of that brief personal connection I paid attention to his career and got caught up in 49'er fever. When Super Bowl XIX was to be played in Palo Alto, my old stomping ground, the excitement carried me away. Now for years I'd wanted to do something stupid with the plugs used to fill veneer knotholes on the 'A' sides of commercial plywood. A zillion guys, myself included, had looked at them and thought, "Hey, footballs." So all the pieces were in place. I would do a plywood painting shaped like a football and accentuate a couple of plywood football 'plugs.' With characteristic in-your-face fandom I entitled the piece, Miami Who?


Pfui, God of Derision

40" W x 52" H

Pfui is silly. I like silly, especially when it borders on stupid. What's even more stupid is that I took nearly a year to make it. Much of that time was spent in the preliminary studies of ancient Egyptian culture, including hieroglyphics. The actual painting only took about four months. Think about it, though. I got to think up stupid jokes in hieroglyphics (secretly hiding Rolling Stone's Lips on a fish for example). They were so obscure no one would ever notice and that was really funny. So I got to chuckle my way through a whole year to make this piece. That's not really so stupid.


Down The Drain

40" W x 52" H

Acrylic paints were expensive. I would often mix and remix colors until I got exactly the shade desired. That would result in a fair amount of waste. I couldn't stand it so I started a painting of little squares as if tiles with the leftovers and used the grays to fill the spaces in between as if it was grout. After a while I realized I could paint a drain in the middle of the piece and call it down the drain. It seemed reasonable to repeat the concept in the frame with left over bits of hardwoods 'grouted' in with grey epoxy. So then I had a sort of painted tile shower floor with a wooden 'tile' border and it seemed natural to make a showerhead and faucet handles out of maple to accentuate the effect. It was obvious really.