Such a brass - tacks perspective would seem to make Forge's pointillist abstractions strange
bedfellows with the all - white paintings of the American pragmatist Robert Ryman — both artists approach each new work as tabula rasa, an unpremeditated engagement with the empty surface (in a 1985 interview, Forge cites Monet's claim that he painted «as though he were a blind man who had just recovered his sight»)-- but there is an experiential connection as
well.