W. ROSS MORROW

I have done a number of “soduko” like pieces that combine structure and randomness. I choose a “sudoko” layout defining the depth of a “hypercube” like structure, sketch it correctly on paper, outline all of the lines used to sketch (including “ancillary” lines used only for sketching accuracy), and then randomly color in all the associated polygons. This gives a sense of depth and shape but confused by the flatness of the color scheme. I’ve done some number of these, and am working on more. See other examples in the gallery below.

I do do some realistic work, such as this reproduction of a photo I took at Schilthorn in Switzerland. My technique here is just to reproduce parts of the target image in stages, using a rectangular grid of cells defined over the image used. See other examples in the gallery below.

I’ve made quite a few abstractions of this character, starting with a graded background in one color, marked over by random strokes in other colors, with the randomness of the strokes later reified by strict black outlines of the shapes that emerge. See other examples in the gallery below.

This is a self portrait I made many years ago. I was interested in combining a realistic portrait with “mobius-like” repetition, in different styles, blending in and out of a flat pixelated ground. I made a number of such portraits (this being the only self portrait) exploring repetition, transformation, and depth in a flat ground. See other examples in the gallery below.

In anticipation of Dia de los Muertos in 2019, I started sketching calaveras of various types. One pattern I have settled into is drawing the rough outline of a calavera (from a single template, used repeatedly over different works) and then successively coloring in lines with randomly chosen sharpie markers. Sharpies have nice, “bright” tones, as well as generating interesting overlapping/blending effects on heavy Arches Rives BFK art paper. See other examples below.

I’ve also done a few “monochromatic” calavera drawings with Sharpies. Here the overlapping effects of “bleeding” markers on the heavy paper are most pronounced and interesting. So far I’ve done these in grey (which works quite well), blue (at left), green, brown, black (which is also quite interesting), and orange. See other examples in the gallery below.

These “dreamy” takes on structure and randomness are fun, but (currently) a bit labor intensive. Incidentally, I call them “dreamy” only because a good friend once remarked on that character of these works. I have done 4-5 of this type. In some, a random “architectural” drawing with rectangular lines is sketched out, followed by occlusion of contained spaces (from right to left) with post-it notes or tape, and then I proceed in the opposite direction filling in shaded tones of random colors. In others, the dreaminess is more gestural. See other examples in the gallery below.

This is another type of abstraction I have enjoyed doing. The process — filling space with short, random strokes of color until satisfied — strikes me as somewhat similar to rain and thus the name. Like other works, most of these I also emphasize and add structure to the randomness of the strokes with solid black outlines. See other examples in the gallery below.

I’ve been working on some large-format paintings on paper. they’re very large, and I should take some better pictures. That’s all about all there is to say about them.

I’ve also started making “streak paintings” wherein paint is applied, liberally, directly to a canvas and mixed together through repeated horizontal brush strokes.