Recurrence

A compact disc appears in 600 works. Concentric rings in 580. A target in 459.

Not a chronology — the dates in this archive are decade guesses. This is what actually recurs. Thirty-three elements, recombined across 992 works.

These motif tags are a machine's reading of each image, not the artist's words. That is also why they can be trusted more than the dates: you can check every one by looking. A dot ● marks a work that is a photographic composite — an assembled image, not documentation of a real exhibition.

Each row shows up to 24 plates, spread evenly from the earliest estimated decade to the latest. Within a decade the order carries no meaning. Every plate opens its record; the last tile of a row opens all of them in the catalogue.

Detail · Untitled (Twin Discs in Targets) · Plate 33 →

Named groups

Eleven of them: one series he worked in by name, and ten themes. Together they cover 914 of the 1,087 works.

These are not the motifs above. A motif is a thing visible in the frame; a group is a category someone defined in words first — the ten descriptions below were written by hand. But which works belong to each was decided by software reading the photographs, the same as the motifs, and it can be wrong the same way. Guernica is the exception: that is a series he worked in by name.

  1. XXXIII · Guernica

    232 works

    232 works, 1990–2020. Collage, primarily. The recurring elements are compact discs, targets, and warplanes — concentric rings laid against black, red, white, yellow. The planes are drawn from above or from the side, reduced to diagrams. The discs function as bullseyes, as roundels, as shields. American footballs appear. Chess pieces. The compositions tend toward the panoramic: figures scattered across a wide ground, or arranged in friezes. The work is not anti-war. It doesn't illustrate anything. It uses the vocabulary of conflict — ordnance, insignia, game pieces, sport — and holds them flat, side by side, in the grammar of collage.

  2. Targets

    411 works

    Concentric rings, bull's-eye forms, and range markers.

  3. Framed Pieces

    230 works

    Works conceived with framing as an integral compositional element.

  4. Torsos & Faces

    174 works

    Photographic fragments of the human body, cropped, magnified, repositioned, set against grounds.

  5. Studio Images

    87 works

    Works photographed in the context of the studio: process images and studies in available light.

  6. Mr. SNOWmann

    73 works

    A recurring figure that appears across the archive.

  7. Crosses

    69 works

    The cross reduced to its geometry: symmetry, perpendicular meeting, four directions.

  8. Art School Work

    52 works

    Work made during and around the BFA years at the Cleveland Institute of Art. Printmaking and industrial drawing.

  9. Collaboration

    31 works

    Works made in collaboration with other artists — shared process, dual authorship, two practices finding common ground.

  10. Tracings

    13 works

    Works built from the act of tracing: contour drawn over found imagery, line extracted from photograph or print. The original image remains visible beneath the intervention.