'Sonar', 2001, was painted when I was producing at my peak, imho. The other works are all dispersed and this one has bounced around to too many galleries... I'm thinking it is time to retire it to my own collection. The title comes from the lower dark area (many shades of dark, not just black as it may appear) which reminded me of a sonargram you see featuring babes in the womb.
There are scars to show for it's travels... and that's partly my fault. For a short period of time I switched from my spackle/gesso mix for base texture to a different gesso mix which the acrylic paint didn't adhere to as well... but I didn't know this until further down the road. Fortunately, this second mixture wasn't used very long or on very many paintings.
The first damage was discovered after I picked the painting up from a gallery that should have known better, I found it had apparently been propped against a sharp corner... didn't tear the canvas, but cracked the heavy surface on the front. Didn't see this until it was home, and felt there was no use raising a stink about it since I'd quit that gallery anyway. I could and did repair the crack, it just added a bit more surface interest which wasn't all bad. And now, it's recently returned from another gallery with a couple of small spots pulled away... probably from resting against another acrylic painting (the stuff bonds with itself) and that painting, whoever it belongs to, now is carrying two extra little dots of acrylic. Wear and tear is a fact of life, especially with unframed work, which is why I habitually carry a repair kit of paints and brushes with me when I visit out of town representatives.
This painting has a wonderful surface quality... largely due to the crippling base mixture I used. I really love running my hands over the surface, it's very sensuous. I think by keeping it home, I might be able to recapture that essence in current paintings... I'm going to try, but it will be with a more stable base mixture.