Two-Handed Study, 20" x 16", acrylic on panel, 1987. Artist's collection.

When I am working in this mode of black and white, non-objective abstract expressionism I have a paint brush in each hand--one fully charged with black paint, and the other fully charged with white paint. I paint using both hands--sometimes simultaneously with both hands. I developed this method for the purpose of maintaining focus on the subtle and transitory train of thoughts one must follow and react to while creating this type of abstraction.

The creases which are noticeable in the surface of this painting and Rodeo are the result of executing these abstractions on mounted Chinese language newspaper. I glued the paper to the surface. Next I painted a series of abstract calligraphic brushstrokes in black paint. Then I painted a series of brushstrokes in white paint in response to the black marks. Finally, I took a brush in each hand and similar to the "zoom" and "wide-angle" focus of the lens of a camera I applied alternating passages of black and white paint while focusing on the composition in alternating microcosmic and macrocosmic modes of study. The painting is complete when a balance is achieved between three basic factors of the composition--overall tonal equilibrium, compositional integration of the entire surface, and compositional articulation in the micro and macro modes of focus.