Reductionism in visual art has always been my utmost fascination as a painter. While there are many ways to achieve a semblance of exaggerated simplicity and minimalism, my own personal favourite reductionist style is Suprematism. Like Malevich, to me the ultimate painting is that which is closest to either a blank canvas or a glare of Light … or total darkness. Accordingly, I have created many white on white paintings, paintings where there is so much white background that the canvas looks unpainted (and to the unwitting viewer perhaps “unfinished”), and several that are predominantly black. I invariably add texture (sand, rocks, scratches, etc.) to those paintings to provoke visual tension by attributing a sense of familiarity and of the tactile to the overwhelming Nothingness. While I have made paintings that are blue on blue, and red on red, and also an entire series of seascapes employing only blue, white and black, it is white on white (closely followed by black on black) paintings which are conceptually amongst the most satisfying for me.
Here are just a few examples of my predominantly-white and predominantly-black paintings, including some that are black and white, and others that are predominantly white or black but which use other colours and techniques in ways that still support technical simplification, if not an “elaborate form” of conceptual reductionism: