This work, number five in the series, pushes the theme in a slightly different direction.  Most of the series involves a grid or pattern juxtaposed with a fluid pattern of spheres floating through space.  Here the grid takes the form of a solid structural surface covered with pyramidal forms topped with small white spheres.  There is still a fluid pattern of spheres floating across the space but some of the spheres are now part of that solid rigid surface below.  One could argue, like the classic yin and yang symbol illustrates, that yang contains a bit of yin and yin contains a bit of yang.

In 2014, I began experimenting with my medium.  With a background in drafting and mechanical drawing, I gravitate more towards drawing than painting, but drawings generally mean paper and the reflections of protective glazing (particularly bad when using black paper).  So instead, I stretch linen canvas over a cradled panel and create an underpainting using acrylic paint mixed with pumice to produce a textured tooth.  I then draw over it with water soluble pencils, and finally seal the finished work under several coats of spray varnish. The end result is a drawing with the qualities of durability normally associated with paintings.  This piece has finished red edges and comes ready to hang.

- Philip Harding

A Square Full of Circles #5

acrylics, pumice, ink and watercolor pencils, spray varnish, and linen canvas on stretched linen

Signed on back

24" h x 24" w x 1" d
8 lbs. 0 oz.



Philip Harding
Richland, Washington

Getting to Know Philip

Philip creates from his home, which he designed and built himself in a small Washington town. His work focuses on the juxtaposition of linear and nonlinear modes of perception and thought. Philip’s highly geometric compositions combine the rigidity of grids with the fluidity of spheres. Stimulating both sides of the brain - both creative and logical - is the intention of the work. Philip finds more inspiration in books than artists; he is heavily influenced by the writings of Christopher Alexander and James L. Acord’s The Nuclear Artist. Philip has been creating for decades, but in the last several years has developed a technique of preparing linen with pumice to create tooth that allows him to draw with the vibrancy and durability of a painting. “My process is a combination of focused improvisation followed by hours of careful craftsmanship,” says the artist. He contemplates life, consciousness, and the state of being while he works.