In Bridge of Asses, geometric forms in vivid red, green, and yellow assert themselves across a raw canvas. The title is borrowed from Euclid's fifth element and hints at a conceptual tension beneath the surface: structure versus ambiguity, knowledge versus assumption. Bold blocks of color suggest architectural weight, yet hover with a kind of intellectual instability poised between resolution and riddle. The unpainted canvas becomes an active participant, anchoring the composition while emphasizing its exposed truths. Here, the raw material is not merely support but serves as an essential part of the image. This work invites viewers to cross a threshold, metaphorically and philosophically, into a space where form tests meaning, paving the way for deeper understanding.

Bridge of Asses

Kinetic Field explores the tension between solid form and invisible force. Sweeping arcs pass through compressed geometric structures, creating a visual field in which color, weight, and movement continually shift. The composition appears both constructed and unstable, held together by the same energy that threatens to pull it apart.

Kinetic Field

The Weight of Placement operates much like a carefully staged drama, using color, form, and exposed canvas to establish hierarchy, tension, and focus. Each element is positioned according to its visual significance, creating a composition that feels both compelling and balanced The painting is not only about shapes but how color occupies space, how edges interrupt emptiness, and how the raw canvas holds the composition in a state of restraint.

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Karen Clarkson

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