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The Return of the Indomitable Abstractions

Back in my University of Washington art school days,
I started making large abstract paintings that were
mostly dark marks in what I called white spaces.

I wasn't sourcing from Japanese art forms like sumi-e,
or suiboku-ga. Or Asian calligraphy. Mainly because I'd
never heard of sumi-e or suiboku-ga. And I was unfamiliar with calligraphy. Nor was I sourcing from Franz Kline. Of
course, I knew his work. But again, there were significant differences.

When I started art school, abstract expressionist painting had been the most advanced form of art for several decades. However, by the time I graduated, it was deemed obsolete by the major NYC and European art critics. Suddenly, everything I studied was over.

So, like many of the other progressive art sheep, I chased whatever was hot at the time. Which changed so rapidly that no one could keep up. At one point, while living in New York City, I counted fourteen active art movements.

By the time I left New York, art had become fixated on marketing strategies and pop culture. So I quit making art.

Recently, I remembered my UW abstract paintings. Why not return to the art I wanted to make? Instead of chasing trends. And use this art for my various creative projects.

So that's what I did.

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