In works from the late 1970s and 1980s, he employed a brightly hued palette and
fractured cubism to change perspective, and his interest in the works of Picasso and his experiments with Polaroid photography are mirrored in his work of this period.
Not exact matches
The tie to
cubism is unmistakable, with each work pulsating between seamless cohesion and
fracture, using forms familiar from modernist collage.
Matt Bollinger's
fracturing of a boy's head, recalling the faceting of
cubism, evokes the mirroring ghost of split identity.