The most recent works are the 'moire paintings.' A moire pattern is an interference effect created by the overlay of two or more offset patterns. The fusion of the patterns creates another pattern that is quite unlike and much more complex than any of the individual ones. You often see these moires in overlapping window screens or woven fabrics. They are also a common unwanted residue of digital and print imagery, when the pixelation or banding mis-registers. Moire seems to have some fascinating stubborn, underlying logic that when created by hand, and in color, becomes all the more unpredictable and exhilarating.

The moire paintings are created with notched, comb-like trowels, revealing an image that is both graphic and utterly material. Despite the seamlessness of their almost glass-like surfaces, these paintings reveal a dense materiality, thus integrating the systemics of opticality with the unruly physicality of paint. They are not slick (though they often appear so in reproduction); they expose their making: a slight topography of paint, an un-taped side, a slip of the hand. This exposure emphasizes the materiality of their process and the humanity of both the artist and the viewer. While optical painters have sometimes eliminated such 'imperfections' as visual distractions, these physical 'slips' can rather augment the optical when used pointedly.

This new work exists in a continuum with my longstanding interests in opticality and modularity. My earlier large freehand paintings, where I paint hundreds of modular shapes, are also improvisational in nature: I grow the painting, starting with a single hand painted module on the edge or middle of the canvas. I intend the shape, scale and direction of each and every mark during the process of painting to ultimately determine the painting's own geometric teleology, which often refers back to nature: its seeming chaos and corresponding mathematics. In these works, I mix hundreds of subtly shifting colors to create color gradients that refer to light or painterly bleeds.

--Anoka Faruqee

2013P-77, 2013

2013P-61, 2013

2013P-29 (detail), 2013

2013P-29, 2013

2013P-49, 2013

2012P-49, 2012

2012P-017, 2012

Longest Day of the Year, 2010

Pink S-Curve, 2010

2010P-07 Dark Dark Purple, 2010

Equator, 2010