Midnight Reverie on Mont Sainte Victoire, 1993, was an extension of this mood into a reverie on art as my religion and Cézanne's mountain as its holy apparition. This work engages the mountain from the romance of night, situated as the central fulcrum of the work. Symbolic planets spin in the sky above; paint passages go through various modes of gestural expressiveness and recall painterly concerns of Johns and DeKooning. A panel of thickened paint (as matter) demonstrates the weakness in object-hood, regarding an immediate allusion to landscape by establishment of a horizon. Art world babble gets exercised by way of an image of my invention shown in perspectival distortion on an adjoining panel to look like a Mel Bochner calculation. An attached circular panel plays an illusionist and optical riddle, being constructed a half inch forward of the canvas plane, yet painted to appear as a recessive hole in relation to this plane. This painting is beside itself in its delights and ruminations of the dark, on the loves of a painter. The painter's elaborate historical, technical and emotional baggage is carried reference to be used like a blindman's-buff on whim. Accumulative cross-referencing tentatively aspires to depth of feeling and gravity of commitment. The works of this period play conceptual games in a postmodernist field.

 

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