2009

Shocked by the expence of framing his two pieces for the CMCA Biennial, Bob sought to accomplish paintings that stood on their own. Many of the paintings of this period were quite large and brought considerations such as whether or not to paint around the edge. In the end, he became interested in the surface of the canvas and left the edge untouched. These paintings introduced the chalk line into Bob's work. On
paintings this big, it was a necessary way of setting up the grid. The line became an important part of the painting, sometimes being quite evident, and other times disappearing into the paint itself. Although it might appear that the paintings were the result of considerable control, Bob's interest was in that over which he had no control at all, namely the negative spaces left by the brush stroke. This was an eliment he could see only when the painting was finished.

Square On

Two Red

Not Black

Untitled (Blue)

Untitled (Green)

Triptych

Sea Scape

Sun Scape

Fissure

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