The Complete Collection
Thirty-seven paintings.
One acquisition.
The collection is offered complete, and only complete. Both series, both Test paintings, the full fifty-year arc — the entire documented output of the innovation.
Integrity is the point: a single-owner archive with unbroken provenance from the artist’s hand, coherent enough to hang as a museum exhibition on day one. Whoever acquires this collection acquires something no future buyer can ever have — the debut. The first public exhibition of a verified 1972 innovation, staged however, wherever, and whenever its steward chooses.
Series I · 1972–1979
Big Bang — thirteen paintings.
The first series states the theme: origins. Poured chemistry becomes nebulae and planetary surfaces; pendulum traces become orbits and expansion. Painted in the same decade cosmology itself was becoming precise science, by a painter running experiments of his own.
Series II · 2017–2021
Theory of Everything — twenty-four paintings.
The late series is a notation system: physics rendered as pure sign. Entangled systems mirror one another across a canvas. Waves carry particles. Trajectories are plotted, forces named. The reduction is not simplification — it is an artist compressing fifty years of looking into the fewest possible marks.
Some of these paintings say more than they first appear to. We leave the discoveries to the viewer.
The Arc
One palette. Fifty years.
Red, yellow, blue, black, white — almost nothing else, across half a century. A universe built from the minimum means, which is of course the universe’s own method.
Thirty-eight years separate the two series. The young painter answered the question with maximal process — machines, chemistry, collision. The old painter answered it again with radical distillation. Same inquiry, two ends of a life, opposite formal conclusions. The collection holds both, complete.
