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Charles Rasmussen



As a means to better understand the use and effects of color in my figurative work, I began in the mid-seventies to study the theories of Johannes Itten, Joseph Albers and others. The color exercises I was doing at the time eventually evolved into my main artistic objective.

Initially I was inspired by the work of artists like Jackson Pollock and Mark Rothko, but in the early eighties while living in New York City I fell under the spell of a small group of abstract illusionists. Even though I considered the work of painters like Michael Gallagher, James Havard and George D. Greene to be a gimmicky genre and somewhat superficial I was also intrigued by their vitality and ingenuity and ultimately developed a very complex but convincing trompe l’oeil style of my own and did receive some minor acclaim for it.

But after a while I grew weary of constructing artificial paintings and decided to return to the brush, so to speak, as I rarely even use brushes at all these days. Today I am working at making paintings which are nearly devoid of artifice and boiled down to the basics with the goal of creating paintings that strikes the viewer as more of a felt experience than a contrived intellectual or technical achievement.