These paintings and works on paper began as a reaction to intuitive image making: I wanted to see if a pattern determined purely by chance could result in a composition that was as balanced or dynamic--successful--as one that was made deliberately or instinctually.
In the early experiments I relied on playing cards or dice to "place" the elements, which I established beforehand. Their criteria were simple and basic: half-inch-wide bars and pure primary color and/or black and white; opposing bars would never touch, enabling "negative" shapes to be produced as a result of the chance rhythms. Because I was using a deck of cards (minus the face cards) and a single die, the lengths of those bars were based on the numbers those games of chance use (1-10 or 1-6). For the later work I made spinners and decided to begin at the beginning, using the numbers 1 and 2, and later 1, 2, and 3, to determine not only the lengths of the bars but also to establish the colors I'd use (pure complements for 1 and 2 or pure primaries for the latter combination).
Although there were times when the temptation to "disobey" the spinner was great, I did not and would be rewarded with what I consider to be surprising and interesting outcomes. I also found the process to be freeing rather than restrictive.
More recently I've isolated the negative shapes produced by the 1, 2, 3 patterns. They conform to other criteria based on scale, intersection, and movement within the plane.
The newest group of paintings are based on the number 4. They employ a visible grid that as a result of chance begins to fall apart, thereby creating new patterns and shapes. The color is determined by using 2 sets of split complements.