(Click on any image to enlarge.)
The second series, Metal, relies on two principles of form, each travelling, for the most part, independent of the other but each coming to the other's assistance at crucial points: texture, carried in these paintings by a series of soft strokes in the underpainting and a skein of subsequent artificially induced crazing; and balance, sometimes achieved (as in Metal 2: Gavotte), sometimes just missed (Metal 4: In Unstable Form).
