The Sunflowers and Daylilies used in Studio Paintings of 1989 and 1990

I worked on the Brooklyn Waterfront at 25 Jay when I came back to NY each fall, from 1984 through 1991, when I moved up the street to 68 Jay.




I had used 'blow ups' from parts of paintings to create a 'stop in time' as Wordsworth called it or a similar feeling to what I termed as the surface of the painting as a truth, in the clap of hands, meaning here, now!

Now I wanted to make that vertical moment physical, equated with the painting surface.





I used the still-lifes I made out in Long Island. Here the sunset for Autumn.






Already I had started to use things from direct observation again, as the watercolors from Italian Cities I'd made in 1988 with their sunset colors.

I used the blown up Lilies. In one painting called Two Days Two Lilies, now at the Federal Reserve in Washington, I realized one day that the Lily I'd been painting was a new one. Strangely I'd never realized that. I always thought it was the same one. This realization made a marker in time similar to the formal elements in my work. (see older post)





Never use photos. I guess this was an exception though the painting never made it to completion. I never made a B/W Long Island landscape that satisfied me in relation to western lagoon paintings.