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19


As well as the diagonals, the paintings had many repeated horizontal bands and registers that were perhaps distantly derived from landscapes. Such registers remained for many years, including in the most abstract work.
Each painting had authoritative inner consistence and logic -- space, color, line.
Victoria Dalkey, writing in The Sacramento Bee, discussed the bridge paintings. "…almost pastel-like surfaces that offer exquisite, shimmering color relationships.
"In ‘Span Series 12,’ you look through an aperture created by cool flat diagonal planes to a bank of radiant pink, a powdery blue band, and a far shore of treelike forms."
She called these paintings, "internalized landscapes -- essences rather than images.”


Span No. 3, 1988

20


Returning to past experiences, sometimes long past, was a lifelong practice.
On the train from Granada to Madrid, we passed an abandoned-looking farm surrounded by a fence made of salvaged doors. Years later, that image showed up here:


Untitled, no date

He wept at Pompeii in 1971. Thirty-two years later, he made:


Between Vesuvio and Pompeii,2003

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