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Scooter Flaherty


At first glance, a Scooter Flaherty painting appears to be a simple combination of repetitive and self-reflecting lines and blocks of color and texture. LOOK AGAIN and see eras in history on a timeline, pages in an open book, folds in a beautifully woven piece of fabric, or bands of human traits in a strand of DNA. LOOK AGAIN and see a Rothko painting rotated 90 degrees. Dissect, organize and redistribute a Pollock. Enlarge a detail from a monumental canvas by Gene Davis or Morris Louis. LOOK AGAIN more closely at the sensual textures like the creaminess of a layered caramel or butter cream frosting on a cake. See the juxtaposition of and tension between smooth layered sections and a raised grid texture, like calm lake waters and a pebbled shoreline.

“These paintings are the product of an activity in motion, transforming slowly; gathering, organizing, visualizing, and editing, in an ongoing search for beauty, within the multi-layered complexities of human emotions, relations, and interactions -- collected and sorted next to and on top of each other. They are about collision of activities going on in the background--incubated bits and pieces of thoughts and ideas, evolving from the womb of abstract expressionism. Conflicting the line between figure and ground. A touch, or thought, or feeling, captured and suspended in time. Forming an image of an emotion that surrounds and possesses.”




the peoples are gettin' screwed not dark yet back this way
it's all good more glory downstream


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