About the Book
David Simpson: Works 1965-2015 offers a comprehensive look at the California artist’s output over a fifty-year period. The late 1980s signaled a transition away from the “hard-edged,” abstract works which characterized Simpson’s early career. From contrasting bands of monochrome which hum with vibrant intensity, the artist turned to nebulous washes of interference paint. He has painted mostly monochromatic work that hovers in an almost alchemical realm. Using interference paints, composed of titanium dioxide electronically coated with mica particles, Simpson creates nuanced, mercurial paintings on smooth and active surfaces. The particles of mica act as tiny mirrors, reflecting light back and forth in ever more complicated patterns. The results transcend the very notion of paintings, as they play with the medium of light itself to create the monochromatic shift of color.
Works in the artist’s most recent series interact with their surroundings, shifting in color and depth with changing light conditions. Through these pieces, Simpson seeks to “create space.” Indeed, the paintings not only create the illusion of limitless space, they persuade viewers to explore their own environment, the refulgent canvases morphing with each subtle change in perspective. This collection of pieces draws its audience away from the frenzied modern world towards a radiant haze, offering a retreat into meditative static.
About the Artist
California native David Simpson is a celebrated teacher and artist, revered in both the US and Europe since the 1950s. His vivid, luminous pieces have been compared to the creations of abstract expressionist Mark Rothko and composer Johann Sebastian Bach. Simpson’s work was included in Clement Greenberg’s LA County Museum of Art exhibition “Post Painterly Abstraction,” alongside pieces by Morris Louis, Kenneth Noland and Ellsworth Kelly. As an abstract painter, Simpson continues to actively explore and challenge his chosen mode of expression. He embarks in dauntless pursuit of the optimal balance between color and form, an ideal state which Simpson aptly identifies as “belief made visible.”