Andy Newman

What unites the abstracts with the landscapes — of which “White house and barn,” “Long barns,” “Farmhouse” and “Two red barns” are good examples (note in particular the under-painting of "Farnhouse") — is a central preoccupation with composition and form. Architectural objects (and their geographic location) become an excuse for setting out in the picture plane shapes and volumes that will carry and reflect the color and light. Seen that way, the progression to the “Color compositions” is a baby step indeed.