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 FLAg 41, 2003 OIL On CAnVAs 28x42 In. /71x106 CM.
 FLAg 28, 2003 OIL On CAnVAs 28x42 In. /71x106 CM.
 FLAg 32, 2003 OIL On CAnVAs 32x40 In. /71x106 CM.

numerous investigations within the diversity of the roads he followed…
taking the canvas as a support for a medley of previously explored themes
and techniques. Moons and Celestials – joyfully integrated within triangles,
through strong stark solid color forms, swirls, waves and areas painted in
“Dots”.
Newman’s Abstract
As a great admirer of Kandinsky, it was natural for David to let himself be
inspired by some of the bold innovations of the modern master. However, it
is quite obvious that we are not speaking of servile imitation, but rather of the
awareness of the freedom that could stem out of Kandinsky’s introduction
to a new painterly language.
In an interview during the period where we lived in Westchester County,
David is quoted. When asked about his 5000 works (this was 20 years ago)
“they are all children to me, every line, every color recalls a place in time,
a forgotten passion. I’ve never thrown anything. “
“Art is a war. Since the beginning of time, there is a struggle between bold,
new visions and what is acceptable in the established art world.In 1954,
while in France, I went to see Marc Chagall. I was 27 years old and had a
letter of introduction from the daughter of a socialite. I said to him, Maestro
what should I do? He told me just go home and work”.
The move to Texas – a very involved process – more like moving a museum..
ushers in a period where David can devote all his time to the art. The Texas
house offered him and his art space. He was suddenly liberated from the
double life he led since our return to the states. The escape from the narrow
perspectives Westchester suburbia offered: tall trees lining streets blocked
the views of the sky; clouds and stars, and even the moon were not a
constant presence in the small town nestled in the valley.
So, when David found himself immersed in the awareness of space his art
somehow took flight, and there was a shift away from structured strong
designs toward blended colors, enhanced through vivid trails of textured
relief. The movements of clouds were an inspiration away from the complex
static statements so linked to life as a sculptor. Fluidity merged with the love
of Fauvist colors creating amazing combinations. The previous years drew
forms from life, rocks, curves and flesh, buildings and bridges. The Texas
years added the flows of air, water and the impact of wind on vegetation,
waves and clouds, and last but not least, luminosity and reflections that
play on water. He also continued to explore important concepts, as implied
by headings for the groupings of his works, a return to the metaphysical
preoccupations and mysteries of the universe: “Gravity Fields” “Longitude”,
“Globular Clusters” as well as the musical context of “Counterpoints”, the
spiritual élan of “Incantations”…revisiting some of the previously touched
themes.
David wrote, “No word, no thought, no picture. A billion times a billion
is just too many. No relationship can exist between us and it. Each time