The sheer beauty of Roger Phillips’s sculpture is unmistakable upon first encounter. Abject simplicity and purity belie meticulous engineering and craftsmanship. These kinetic sculptures embody motion and fluidity. Light and airy, the glossy colored surfaces reflect their natural surroundings. Their bright geometric forms are reminiscent of Alexander Calder, while the smooth, unfettered motion recalls the meticulous movement of a Rickey and their graphic three dimensionality refers to Ellsworth Kelly. As Plato once wrote of geometric forms: these are not, like other things, beautiful relatively, but always and absolutely.”
A similar fluidity and meticulousness is found in the hard-edge paintings of Jay Rosenblum. In his art Rosenblum sought to associate his great love for chamber music sonatas with his freely evolving vertical stripes of color. Viewing blocks of color as separate notes on a piece of sheet music Rosenblum transformed them into a cohesive unit that resonated with a playfulness that added interest and energy to the picture. Rosenblum referred to his works as “free association color development”. Our paintings are dynamic, abstract pieces with distinct underlying color tones that have been meticulously orchestrated.