"The motion pictures shown in this theater are for mature adults over 21 who are not easily offended"
24" x 48"

Exhibition Notice...

Movico 24..... N6

Movico 24
8"x 24"

N6
8 x 24"

Corridor to 8522.......Finders Keepers.......Finiscope

Corridor to 8522
8" x 24"

Finders Keepers
8" x 24"

Finiscope
8" x 24" 

90 Hop............... 7256............... Aston

90 Hop
8" x 24"

7256
8"x 24"

Aston
8" x 24"

El Paso that same afternoon

 El Paso that same afternoon
24" x 48" 

At/rt #2 Video

Delete................Nouvelle Wazoo..........

Delete
 8"x 24"

Nouvelle Wazoo
8" x 24"

Hey Bill, You Better Come Out Here

Hey Bill, You Better Come Out Here
8"x 24" 

Zeno's AT/RT montage

............................Recollection.............................

Recollection
8" x 24"

Mixer, Converter, Cooler

Mixer, Converter, Cooler
20" x 40"

The Invite

Bag, Chair, Chandelier

Bag, Chair, Chandelier
20" x 40"

Niblo's Garden

Niblo's Garden
20" x 40"

Rupp 47

Rupp 47
24" x 48" 

Reflections re: ELEMENTS
Visual improvisations made with snippets of black, white, shadow or colored images on paper form the content of my panels. These applied details include images of figures running, playing music, standing alone or as a part of a group, audience or nameless crowd.

The collages have a visual rhythm, but no central subject or theme. I reject using iconic images that would, at a glance, simply evoke original intentions or a brand.

Collages re-purpose and re-circulate photos, art, reportage, and other lively scraps that may already exist in your mind, in your recollections and imagination.
KGR

Cafe Marseille......Cathedral

Cafe Marseille
24" x 48"

Cathedral
20"x 40"

On the A train en route to 125th street and the Apollo Theatre to buy tickets for the Amateur Night tonight. I adjust my earbuds and select David Murray's "Lester" from the Big Band CD (a treasured soundtrack). I think about the collages and have some reflective after-thoughts which seems to always follow the process of creation. And so, as I sit facing ahead on the A, I observe others in the car - each of us with our own lines of perception outward and each of us with our own lives inward. Stories behind the lines can be traced back to individuals, like the one standing against the pole or the young mother with her child in tow. Take all this in at once, like the opening of the train doors. Everyone has a history and a view of everyone else.  The subway experience is unfiltered. Of course, there has been no unifying element identified, no synthesis of parts, no overall end determined in this A train, except the vows to our own selves and/or others for our shared purpose and/or destinations,

Genuine Hickory Smoked Barbecue

Genuine Hickory Smoked Barbecue
24" x 48"

Pork Chops ~ No Right Turn

Pork Chops ~ No Right Turn
24" x 48" 

The Most Astounding Show, Never Before on Any Stage

The Most Astounding Show, Never Before on Any Stage
24" x 48"

Destinations (When I Believed I Had None)

Destinations (When I Believed I Had None)
24" x 48"

Democracy is Dissent

Democracy is Dissent
24" x 48"

Three Easy Pieces

Wonderful Beirut
8"x 24"

Made it! Aargh, my head!!
8" x 24"

Traffic Analysis
8" x 24"

Home Sweet Home

Home Sweet Home
8" x 24"

Theatre

Theatre
8" x 24"

Another World & The Strand

Another World
8" x 24"

The Strand
8" x 24" 

No. 5

#5

No. 5
22" x 28"

Not for Us

Not for Us  
20"x 40" 

Dorothy's Walk, Palm Beach 6:25 AM.........Louis V

Dorothy's Walk Palm Beach  6:25 AM
7 3/4" x  24"

Louis V
7 3/4" x  24"

...another way of seeing

...another way of seeing

Cinema

Cinema   
20" x 40" 

A Point

A Point  
20" x 40" 

Obey, Obey

All titles come from words or numbers found on the completed composition. This randomness is in accord with the dictum: No subject, No theme, No central image. One is exempt, even relieved of imperatives. There's a freedom in allowing one image to have unrestricted access to the next image, one after the other. Each decision is made to select an element that is in sympathy with the next. The work eventually becomes whole. Harmony - Balance - Engagement are the gatekeepers for each panel.

Obey, Obey
20" x 40"

Grand Central 5

Grand Central 5
15"x 30"

Yes Sir, How May I Help You?

      There is no preconceived idea of what any of the panels will look like at the end of the process of creation. Every work begins from the upper left corner and basically evolves as its visual and conceptual puzzle is solved. What's to be placed next to this color, form or line. What will make sense aesthetically? 
      The juxtaposition of images and the varying perspectives engage the viewer and may make him look again to experience multiple connections throughout the images, forms, colors and lines. There is no one central image or theme. The panels explore the processes of perception. The eye and mind move freely from one image to another in the viewing.  Looking is always a dynamic process. 

Yes Sir, How May I Help You?  
20" x 40"

Mexican Surgery, Ha Ha,Ha,Ha,Ha,Ha,Ha

If the work were to be an audio file, maybe it would sound like listening to six different radio stations at the same time.  Sound, volume, duration, tone, variations etc. all vying for singular attention. Today's ride home on the A train, listening to Bocelli when the Break Dancers enter and run their show w/their music competing with my earbuds' music. So what do I hear now, as well as what music do I remember and what happens when it is all played at once? I hear the assault, I assimilate the assault and put it forth visually, carefully. 

Mexican Surgery Ha,Ha,Ha,Ha,Ha,Ha,Ha. 
17"x 29"

You Can Take Me Now

Sol Lewitt on Conceptual Art- No.20 
"Successful art changes our understanding of the conventions by altering our perceptions."

You Can Take Me Now  
24" x 48"

 At first glance, what may appear to be random elements are, in reality, carefully chosen from unlikely cast-off publications, then cut-out, placed and pasted down permanently. Multiple images inhabit visual rhythms within the collage. While there is no dominant subject or obvious theme, the panel may be perceived as facets fused into one poetic whole.  Deliberate cut and paste improvisations (including the use of lucky scraps), bond areas in the panel comprised of black, white and grey cuts to areas infused with all the shades of blue and other colorful ingredients. 

Ricci's juxtapositions blend and connect when affixed together, like a hip-hop sampling. JSR

Coca

Coca
20"x 40"

Memorize Quickly and Always  
20"x 40"

Post No Bills
  24" x 48"