he new, untitled drawings on sheets of Yupo (off-white sheets of polypropylene plastic 'paper') are related to, but distinctly different from, the 'Water Paintings'. Like the 'Water Paintings,' suggestions of the topography of water-in-motion are evident. However, the new drawings are less dependent on the references to nature that inform the earlier paintings-- here the focus is on the 'fluid mechanics' of the paint itself. In a sense, they are studies or études. Each drawing is painted in several layers of transparent acrylic color and gel medium. Because of the extreme smoothness of the plastic paper, every mark, ripple, line, or coagulation of the paint is visible, unaltered by the 'tooth', or surface texture of a conventional paper. The configurations that result vary according to how the paint is applied. Some works are drawn in rows or registers across the page and might suggest geologic concretions or glimpses of microorganisms, while others resemble wave patterns or disturbed pools of water or other fluids. However, the drawings have a strong sense of being 'specific' without being descriptive of particular things or objects. Occasionally, small amounts of metallic or mica-based paints are added to the mixture, which allows a 'kinetic' response to occur: The tone-color of the image gradually shifts as the viewer moves from side-to-side.