Artist Profiles

 Page 3 - Pat Passlof / January

white forms placed on a beige background.  But a closer look reveals how such a limited portrayal misses the impact of the bits of electric yellow that are scattered among the white forms. Nor does it account for the way in which the ground is an undulating, complex mixture of browns, yellows, blacks and whites.  The genius of this work lies in so much mileage gained from so few forms constructed of such luscious color and surfaces. The magnificent result is that, as a body, this work creates a veritable symphony of rhythmic sensuality.

Hamlet�s Mill #11, 2001, oil on linen, 48 x 60 in

Besides the grid the subject matter might best be described as vaguely organic. The painting On the Road, at quick glance, reads like a curtain of

MM3, 2000, oil on linen, 36 x 30 in

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Hamlet�s Mill #36, 2001, oil on linen, 78 x 48 in

bamboo and Hamlet�s Mill #36 appears to be  bleached bones or exposed fossils lying in a desert. The blip forms in Hamlet�s Mill #7 might suggest anything from diving fish in a sea of pink to a portrayal of microbiology.  In short, the references throughout the work, whether obvious or subtle, evoke an involvement with nature. The color and other formal elements only serve to reinforce this.

Hamlet�s Mill #7, 2001, oil on linen, 48 x 60 in

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