Like Fitzgerald, who flipped between flappers and philosophers, it has all
the raucous elements of the color - mad paintings, but also interjects an elevating and welcome note of doubt, the kind of momentary struggle with the material qualities of color that makes Cezanne or Diebenkorn so admirable under similar conditions.
``... I began to consider how I could introduce a more
raucous color sense, and increase
of scale
of the individual floral and foliate
elements so that they might go spilling off the confines
of the canvas,» the artist explains.