SX2133, named after the license plate on Jackson Pollock’s 1950 Oldsmobile convertible that he crashed on August 11, 1956, tragically taking the lives of Pollock and Edith Metzger, is my latest exploration into the dialogue between structure and spontaneity. Realized on a 48 by 72 inch canvas through acrylic and metallic paint, this piece emerged from a desire to merge the rigor of geometric form with the raw, introspective energy found in abstract expressionism— especially the post-war American movement that has long influenced my practice. The canvas is a field of metallic red and orange tones, saturated and layered to create a sense of depth and heat. Embedded within this backdrop are strokes of maroon, black and tiffany blue, adding a weighty counterpoint to the vibrant palette. Over these layers, I have applied thin white circles, crafted with intention. These circles form a repeating grid that stretches across the entire surface, overlapping and intersecting in patterns that disrupt the composition. The rhythm created by these interwoven shapes are designed to draw the eye into a continuous dance between flatness and texture, between the predictable and the chaotic. SX2133 is a deliberate collision of imageless abstraction and clear geometric motifs. Unlike purely gestural abstractions, the work maintains a disciplined order through the repeated circular grid with a counterpoint of unpredictable color fields beneath. This tension creates an energetic pulse, mimicking the conflicting impulses I see in post-war abstraction—the balance of control and emotional release. In developing this piece, the process was as much about layering intuition on top of structure as it was about technical execution. Each campaign of color was an exploration of mood and space, while the overlaying circles were a meditational act of rhythm and form. The metallic paint adds subtle reflections that shift with the viewer’s perspective, further animating the surface and enhancing the piece’s dynamic presence. 
SX2133 invites a prolonged engagement; it does not yield its complexities immediately. Instead, it asks the viewer to consider the way abstract elements can coexist—how form and feeling can intertwine to generate intensity without representation. This work reflects my ongoing interest in abstraction that provokes thought through both visual tension and emotional resonance.