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1967—1970
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1967–1970
From idyllic isles to city grit - on returning from months spent in England, Spain, and Greece, work resumed above the machine shop in, what was then, a semi-industrial area of Toronto – now the entertainment district. Inspired from multiple sources, both Western and Eastern, a variety of approaches began which were to establish a progression of investigation that still continues. Flat colour-field designs were maintained but soon the Neuro-Grid works took on painterly qualities and the surrounding ribbons began to bend in spatial relativity. The first Spatial Shade studies were created and the first major work based on them came into existence where the spirit was identified by the increasing use of the egg symbol/motif, set forth in Antipodes. Here the duality relationship of sphere and egg appeared and was to take hold in the overall body of work. The first Component-Integration painting was also created in this time frame; in Five Along, illusionary form was first combined with mathematical linear design. Other works pushed further into magic surrealist territory while the irreverent brush and ink drawings, for the Gargoyle magazine, owed a debt to Japanese graphics. As the decades turned, the Inset sculptures were produced and sculpture continued to have a major impact, as livelihood was achieved from that sector.
left: INSET PIECE 1 right: INSET PIECE 2
SCYLLA / CHARYBDIS
FIVE ALONG
ANTIPODES
SPATIAL SHADES 1 & 3
POINT LIMIT
DUALITY DREAM 1 & 2
ORBITAL MYSTIFICATION
STILL SUSPENSION 1 & 2
GARGOYLE DRAWING 2, 3, 4, 6
left: STREAM COMPOSITION 1968 acrylic on linen 48 x 36 inches
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