Patricia Buck

This painting extends my sustained investigation of color, repetition, and vibration as a carrier of felt experience. Both works are built from accumulations of concentric circular forms—units that operate simultaneously as cells, lenses, galaxies, and pulses. In Something Hidden the circles hover within a looser atmospheric field. The ground breathes; forms cluster and disperse, suggesting emergence, migration, and porous boundaries. Across the painting, color is not descriptive but physiological. Rings of saturated blues, acid greens, hot pinks, and ochres generate chromatic vibration through adjacency and repetition. The concentric structure slows the eye while the density accelerates it, producing the subliminal push–pull that characterizes your practice. The individual mark becomes part of a communal rhythm, aligning conceptually with an ongoing interest in vibration, embodiment, and interconnected presence. Something Hidden reveals a dispersed constellation—observing energy in a more atmospheric, generative field. The circles hover within a permeable, almost earthen-green atmosphere that suggests growth, incubation, or emergence. The ground is active and fluid—brushwork moves laterally and diagonally, allowing forms to cluster, drift, and occasionally dissolve. The concentric units vary in scale and spacing, which creates a sense of organic unpredictability. Some feel embryonic, others fully articulated, others fading. Here, repetition operates as differentiation. Each circle holds its own chromatic climate—pinks against olive, violet against yellow—producing small zones of heat and coolness that pulse independently. The painting reads as a field of becoming: multiplicity without rigid structure. Conceptually, it aligns with my ongoing interest in energy as something sensed rather than described. The work suggests cellular life, cosmological formation, or communal presence without fixing itself to a literal referent. It is porous, transitional, and alive.

Zeros and Ones explores the translation of sensation into signal. This large painting, Zeros and Ones symbolically represents the concept of ‘analog to digital conversion’ (input and sensing) into pattern and symbol. A luminous yellow field activates symbols as spontaneous marks define the pattern and movement of binary coding. Detail is discovered in random patterns that float across the saturated field generating a visual energy to balance its randomness and structure.

 My art is informed by decades of studio work, art historical study, and metaphysical inquiry. Rather than relying on a visual narrative or literal symbolism, my work explores how color, composition, and texture can evoke subliminal responses.


This painting extends my sustained investigation of color, repetition, and vibration as vehicles of felt experience. Bull’s-eye is built from accumulations of concentric circular forms—units that operate simultaneously as cells, lenses, galaxies, and pulses. In Bull’s-eye, the structure tightens. The picture plane is more compressed and immersive, the circles multiplying into a near-allover matrix that amplifies optical intensity and rhythmic insistence. What begins as a constellation in earlier paintings becomes system. Color is not descriptive but physiological. The concentric structure slows the eye while the density accelerates it, producing the subliminal push–pull that characterizes my practice. Rather than depicting space, this painting creates it through pulsation.

This painting demonstrates a decisive moment where intuition, structure, and chromatic intelligence are no longer negotiating, but operating in concert. A dominant circular boundary asserts itself as both container and field. It functions simultaneously as an organizing geometry and a perceptual threshold: a space within which energy accumulates, disperses, and recombines. Unlike earlier works where color-field expansiveness might suggest boundlessness, here the circle introduces a deliberate constraint. That constraint does not limit expression; it intensifies it. The viewer’s attention is pulled inward, repeatedly, toward a system rather than a scene Within this field, the constellation of concentric orbs—each distinct yet clearly related—signals a mature evolution of your long-standing interest in vibration, frequency, and the non-verbal language of color. These forms are not symbols in the illustrative sense; they operate as pulses. Their repeated structure establishes rhythm, while their chromatic variation resists monotony.

Little Galaxies evokes a deep, cosmic atmosphere; a window into a mysterious, energetic vastness, layered with bits of ambient light and color. Midnight blue and violet flood the surface, punctuated by subtle particles, or comets in motion. The painting has an immersive sense of depth with luminous bits of color, exploring spatial depth, formation, and accumulation. Rather than a literal universe, this is a study in scale. A reminder that energy, space, pattern, and matter exist in both microscopically and cosmically. It is a reflective piece, grounded in observation, rhythm, and discovery.