Richard Pitts ’ new sculptures are complex and expand the drawn line into a single, hand-held object. The proposition of automatic movement within stasis continues in several, tall forms that extend from the ground and outward in several directions. Since the 1970s, landscape has served as either framework or subject for the artist, while the acquisition of meaning has shifted toward the viewer.

Fountain (2011) renders a series of aesthetic intersections where personal narratives commune with the visual. Similarly, Tango (2011) explores the various metaphors inherent to the natural environment. Intended for both interior and exterior sites, Richard Pitts’ new selection of colorful aluminum sculptures free up the art experience by utilizing the tenets of formalism.

In 2001 Pitts began breaking down the painted figure into a series of panels that fit together in a puzzle-like fashion. This gradual separation of colors appeared five years later in a series of tall totem structures that reflected a variety of juxtaposing colors, patterns and textures, which were separated by a thick, undulating black line, echoing the construct of stained-glass windows. However in giving shape to a series of metaphysical characteristics that are rarely captured within figurative painting, Pitts has moved the idea of sculpture away from its multi-layered, object-based history and toward one’s personal mythology.