Slide #9/ 1988 untitled study/ drawing, ink on paper/ 19" x19" By the time Geometric Abstraction was to receive its major retrospective at the Buffalo Fine Arts Academy, I was at last able to acquire the largest drawing device available and produce quite larger pieces. This one combines a fractal mesh, fractured to increase the dynamics, and animated by a spiral movement clearly suggesting a third dimension — which does not exists on paper of course.

Slide #10/ 1988 untitled study (central detail 5" x8" )/ drawing, ink on paper/ 19"x19" This is the central part of a mesh animated by the same movement. Here the mesh is a fractal composition implying a mysterious motif from Benoit Mandelbrot multiplied in a stunning way. The new scale of the drawings makes the whole process sing. After the experiences of the first years and the software I had written along, I was ready and eager to deal with the larger dimensions with minutiae and inventiveness.

Slide #11/ 1989 II from the "Lozenges" series/ drawing, ink on paper/ 19" x19" The new device handling large sheets of paper, more experienced software writing, and the encouragements of the Alphonse Chave Gallery combined to make of 1989 a great leap forward year. This is one of several studies on the lozenges theme exploring relief and chiaroscuro effects. Incidentally, I have been deemed by some a 'sculptor' rather than a 'painter' because of drawings like this.

Slide #12/ 1989 "Horus Line"/ drawing, ink on paper/ 19"x19" Another Indian Ink piece involving a very dynamic structure, and again, high contrasts.

Slide #13/ 1990 "Mont Huang" (detail)/ drawing, ink on paper/ 19" x27" My first drawing on the theme of Sacred Mountains, here Mount Huang in China, surrounded by mists and clouds as any good Sung mountain should be. This has been followed by other Mountains, and other Mount Huang too.

Slide #14/ 1991 I from "Inferno" series (detail)/ drawing, ink on paper/ 22"x22" This totally abstract landscape was an early attempt to illustrate Dante's Divine Comedy (Inf. I, 1-3) "Midway upon the journey of our life / I found myself within a forest dark, / For the straightforward pathway had been lost".

Slide #15/ 1992 "Down the Yellow River" (detail)/ drawing, ink on paper/ 32"x44" After seeing a Hand-scroll by Wang-Hui I decided to play with water, silt, wind and waves, and made a large piece combining Cobalt Blue and Raw Umber which remains my favorite one. An abundance of small streams and details makes really impossible to photograph it as a whole. The few visible lines are about 1/64", so the magnification is huge, hence some fuzziness from the paper fibers.

Slide #16/ 1995 "Un Cercle Trop Etroit" (detail)/ drawing, ink on paper/ 27"x39" The single Blue line composing the entire drawing defines with great clarity all the details of the composition. The faultless accuracy needed is such that no other process could create similar work (and no slide good enough).

Slide #17/ 1996 "Poseidon, the Shaker of the Earth" (detail)/ drawing, ink on paper/ 13"x19" This Cobalt Blue and Sepia detail reveals how the work results from two spiral lines which under strict control, builds its relief, its details, its hues.

Slide #18/ 1996 21st from the "Agnes Martin" series/ drawing, ink on paper/ 4"x5" The process followed invites to variations on a theme, as illustrated by this series of thirty small images evolving around the quiet grids of Agnes Martin. This small drawing evolved away from the series theme, but displays the natural charm of a freehand sketch which shows a medium reaching maturity, capable of simplicity as well as of excellence on demand.