Since 1962 I have attempted to perfect a style of pure abstraction, painting spontaneously and intuitively in response to changing social and political climates. My work in the 70's was lyrical. That changed to more violent, painted strokes and collage effects in the 80's. Heavily textured surfaces of the early 90's gave way in 1995 to thin layers of paint to effect a spacious style of sensuous color and movement. Complex color and light effects were created with opaque and transparent layers of acrylic, evoking symbolic metaphors of landscape and the human figure to suggest the complex strength and frailty of both. Since moving to Houston in 2005 my response to landscape has become more pronounced.

Illustrative of changing political, social and geographical situations in making art, a year-long position (1978 - 1979) as Lecturer of Printmaking at the School of Fine Art in Manchester, England inspired me to produce a series of 12 large etchings with editions of 5-10 each, often from shaped etching plates. These dealt with my reactions to the ‘British Empire’, and to intolerable weather conditions. Later, shaped canvases evolved in the making of my politically oriented El Salvador series during the 80's. Again it was a war related conflict, the 1st Iraq War, that saw my work change dramatically in the early 90's with a build up in paint thickness and texture and an increase in the size of brushes from 4 inches to 12 inches wide or wider. Brushes were tossed altogether from 1995 on in favor of metal trowels up to 24 inches in width while painting my Serpentines Series, a consequence of the African Rwandan Massacre in 1994. A more recent 9/11 Series was created with the same emphasis on thinly layered combinations of transparent and opaque paint. Since 2004 my work has been evolving away from reactions to social and political events in favor of simpler formal solutions, often in the form of abstracted interpretations of landscape.

all images 1968-2017, David A. Haberman, all rights reserved

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