am primarily enamored by the physical qualities and emotive nature of paint itself. Indeed, my work documents and express emotional ideals but it is the physical interplay of materials where my attention focuses. Working with paint as a sculptural tool, I revel in the visceral experience of viscosity and gravity. Each type of paint is an alchemical ingredient that transforms when brought into concert with each other. I use oil paints and washes, oil and water based polyurethanes, resins, acrylics and enamels to suggest change and decay. These organic processes married with architectural forms and subtle pallets of color create a moving, restive balance of forms.

Many of my most recent paintings employ vertical stripes that run from edge to edge of the canvas and address the question of composition by shifting the focus to notions of contrast and rhythm. This sense of movement is one that wanders calmly--even elegantly. By using varied materials and deep optical juxtapositions, the viewer is given a reason to pause and consider different points of contrast. In the "Light Dots" series, white dots float in pools of clear. The emphasis of planes and space are illustrated by the placement of the dots floating in clear fields and creating illusions of space, diffusing shapes and surface.

Building skyscrapers as a union carpenter, I developed an appreciation for rigorous craftsmanship as well as an abstracted vision of architecture. Working at heights for extended periods of time generated my interest in depth, space and visual rhythm on a macro scale. This minimalism plus architecture and materials seen through the lens of abstract history equals Maximalism. I believe this to be the next arena in visual language. My vocabulary for this vision is made up of areas of contrasting richness, striped zones of vertical depth, dots, and glowy light orbs in clear pools of color.

Alan Fulle completed his BFA in painting at the University of Washington in 1989.