This work is one of the more straight forward presentations of the theme of squares and circles; squares and grids represent a formal unchanging structural order marked by regularity and geometric clarity, while circles and spheres are part of a fluid, organic, constantly changing type of order.  I connect these with the two sides of the brain - one rational, and the other intuitive, capable of making aesthetic judgments about abstract visual relationships. It is my hope that my work can resonate with both sides of the brain.

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 #6

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
7 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.