This painting is acrylic with pumice and water-soluble colored pencils on canvas gallery wrapped over a hollow core door.  The edges are black and it comes ready to hang.

For years I’ve been juxtaposing rigid grids and fluid patterns of spheres in an effort to connect with both our rational intellects and ability to make intuitive aesthetic judgments.  Usually I present these two sitting comfortably in their own zones of clearly defined space. More recently I’ve been looking for ways to knit these ideas together, to get them to interact or respond to each other. Here I’ve compressed them into the foreground as if they are both occupying the same space.  As the spheres become sketchy, at times translucent and are built up of erratic gestural lines so too does the grid and the space around the spheres and grid become sketchy and less clearly defined. I’ve also found myself thinking about quantum physics and how elementary particles can exist as both particles and waves until pinned down by some sort of measurement, which for me is the grid. I am not trying to illustrate this idea objectively but there is something here about the nature of reality I want to get a grasp on and plan to keep working with.

- Philip Harding

Particles and Waves

Acrylic with pumice and water soluble colored pencils on canvas over cut down hollow core door on stretched canvas

Signed on front and back

36" h x 64" w x 1.37" d
20 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.