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The Hardy Collection PDF Catalogue This is the largest single collection. Works of art, are from 1958 to 2011. Some of these works are now for sale. Email: Hardy Collection Website 001 1958 Stag Oil, on canvas, 18"x 24" Painted in Old Greenwich, Ct at age 14. This was a depiction from his imagination. An idea about nature organized the painting. The Stag was startled by the snake and the owl is coming to catch and eat the snake. 002 1958 Bouzouki Oil, on canvas, 30"x 40" A typical musical instrument found in Greece where the artist lived as a young boy. Painted in Old Greenwich, Ct. The "Still Life" is a classic (study) method adopted by serious artists and students alike. This early work with Bouzouki survived because it was an oil painting rather than one of the many works on paper of that period. This is a good example of my continuing interest in unification of the representational, the abstract, and the non-objective. In my mind the parallel nature, mind, and metaphysics. 003 1959 Sailor, watercolor, 12"x 18" The harmony of wind and waves translated into brush strokes. In sailing everything is in total harmony to work right. 004 1957 Owl Watercolor, on paper, 12"x 18" Painted while looking at a stuffed owl. 005 1966 Phantoms, oil, 20"x 30" Phantoms, 1966, He had an interest in ghosts, while attending Silvermine College of Art and living in Weston, Ct. 006 1968 Theater, oil, 22"x 24" A myriad organization of symbols and personal references summarizes a reflection in the artists metaphorical mirror. In the lower left hand corner are drawings which referred to the artists basement studio. Next to that the red and green brilliant colors with vanishing points symbolize a joyful dynamic exterior waiting to be discovered. Above in the purple area faces had been previously painted and then painted out with just the shape of the head remaining. Over to the right an umbrella covers heads and faces below. Some of them peering out, some of them talking to each other, and some of them having the spokes of film reals, and all of this going on within the metaphorical mirror. The mirror indicated by the brown aging along the top and down the right-hand side of the painting. 007 1969 Flower symmetry, oil, 30"x 40" This painting was a further intuition of the proto-space where dimensional axis-mundi referred to super symmetry. A crossing over of interdimenational worlds. The idea of interlocked particles which behave in unison in different places, Einstein described as spooky action at a distance. this is a theme of multidimensional occurrence using the flower as the symbolic particle occurring in this interlocked fashion. 008 1969 Abstract, oil, 24"x 35.5" Interdimentional space, top half is variations of what’s below manifested in another plane. 009 1969 The Milkglass, oil, 22"x 24" Currently On Loan. The relationship between eye and mind is clearly demonstrated by exercises in optical perception. A simple exercise is in shifting awareness from habitual centers of focus to peripheral awareness. In the painting "The Milk Glass" the center of focus was the milk glass. The field of view becomes increasingly abstracted as we move away from the focal center. I was painting what I saw. The exercise was to stare at the milk glass but "see" what the visual field looks like without moving the fixed point of focus. The point of this exercise is to understand how the mind is constantly refocusing and editing an experience of seeing which is a dynamic summation of perception. 010 1969 Wedding Ring, oil, 13"x 11" The Wedding Ring, similar to The Milk Glass, in that it’s a study in seeing, the ring is held up in the hand and the area around it changes while the focus remains the same. The instant of seeing the ring is frozen in the moment. 011 1970 Tolstoy, acrylic, 28"x 30" Tolstoy was a painting which pushed a super saturated field to the point of trans fluent flux. Like a jazz musician who has mastered all possibleness by enabling a composition which can go anywhere, Tolstoy allows the viewer to move into any space. I was making a world where media and form are seamlessly balanced. In a conversation with my cousin about this painting, I remarked that few "got" my discovery of a super-saturated space-particle environment, where all form could exist simultaneously. She laughed and said, "Yea, well it is not like a novelette which most people are used to reading. It's more like Tolstoy's War And Peace. Timeline Reference (many similar examples) 012 1970 Abstract, mixed media, 5"x 8" Experiment in field and landscape patterns. Color, shapes, and lines flirt with relationship of patterns that begin to describe a landscape. 013 1970 Crucifixion, mixed media, 10"x 6" 014 1970 Abstract, oil, 9.25"x 11.75" Forms from the detail of an El Greco painting featuring the two hands of a soldier. 015 1991 Right Bank, Mixed New Media, 9"x 12" Sentimental painting, outside the restaurant where he first showed his work in NYC. 016 1970 Field 3, oil, 7"x 13.5" Another field painting going in the direction of a landscape. On Loan. 017 1970 Abstract, oil, 6"x 12" An abstract landscape done in New Haven while a graduate student at Yale. On Loan. 018 1970 Flemex, oil, 12"x 14" A self portrait experimenting with Venetian and Flemish glazing techniques. 019 1970 Red Forrest, oil, 7"x 7" 1970, Painted while at Yale.

020 1970 Sketching, drawing, 7"x 5"

021 1970 TV, drawing, 7"x 5"

022 1970 Woman, drawing, 7"x 5"

023 1970 After Impressionist 78, drawing, 7"x 5"

024 1972 Abstract, drawing, 6"x 4.5"

025 1972 Abstract, mixed media, 7"x 4.5" This was a page out of a rice paper journal. I was sketching out a world where planes, lines as marks and surfaces combine to build form. Paris Art Journal is a book demonstrating similar efforts along this path.Click on (preview) at the bottom of book cover, and you will see many examples. 026 1972 Medusa Abstract, oil-charcole, 24.5"x 36" Medusa was based on the structural dynamic of "The Raft of the Medusa" by Théodore Géricault. A comment on modernity and the mark on the surface. While the canvas was brought to a finished surface the charcoal marks ride on top of a minimal construction, the lyrical abstraction dances with the dynamic. Interestingly one of my artist friends was offended by the notion that the work was based on a classical painting. He felt it was a spontaneous creation. Another artist friend Tanno Kaupi saw it immediately. 027 1972 La Coste 2, oil, 21"x 25.5 La Coste is a small town in the south of France. I was living at the Silvermine extention school, buildings provide by Benard Phriem, Also located in that town was the Château de Lacoste Marquis de Sade. Visually the light, morning mist, and sense of timelessness created an atmosphere of introspection and nuanced color. My concerns in art orbit field forms, abstract, and representational portraits. Formative flux is a field form state moving into the abstract pregnant with formation. As if charged gas clouds and particle groups were poised to give up their independence to snap to gravity and vector equilibrium. 028 1972 La Coste 1, oil, 7"x 10" Influenced by the light and surroundings in the south of France 029 1973 Yin, oil, 22"x 7" 030 1973 Birth, oil, 24"x 14" Birth, a field painting in which a fetal child of God is beginning to form. 031 1973 Yang, oil, 22"x 7" Yang-on either side are angels or some type of holy fraternity forming a Yin, Yang, one going up the other going down. 032 1974 Abstract, oil, 17"x 23" 033 1975 Civilization x, oil, 11.5"x 14" Painted while at Oxford,part of an extensive series of paintings and lithographs around national dysfunction resulting from the Viet Nam war. 034 1975 Jesus,oil on panel, 5"x 5" 035 1976 Grand Canyon 3, acrylic, 30"x 30" an early scroll paintings while visiting the Grand Canyon in Arizona. 036 1971 Hydra Self Portrait Oil, on canvas, 12"x 14" Done in Hydra, Greece where he lived in a house 2000 steps up the mountain. Used oil as there was time and a place for it to dry. 037 1977 Cups, oil, 9"x 11" Dealing with cubist ideas of randomness of patterns and haphazard still life. 038 1977 Cups 2, oil, 13.5"x 17" On Loan Cups is another step along the path of field forms, pattern, marks, and the image in objective space. In this work which again is part of a series, the reference to object is near representational description. The placing of image as a unit in the repetition makes the inference that an image can work as a mark does when used as pattern describing a field form. The definition of what is an abstract elliment supporting an objective world is turned around. The image is now a supporting unit describing the abstract configuration. The point is that focus and frame of reference changes the role of elements and our definitions of what is objective and what is abstract. 039 1970 Self Portrait, oil, 26"x 22" Idea of time and dimensions and simultaneously occurring variations. 040 1978 Woman, drawing, 8"x 10" 041 1978 Cutty Sark, mixed media, 7"x 9.5" Part of a series on ships 042 1978 Abstract, oil, 36"x 38" Immediately got into its own world. 043 1981 Sandpiper, acrylic, 5"x 7" from a series of about 25 birds. 044 1982 Abstract, acrylic, 8"x 10" a field painting, has an overall look to it-comprised of individual structures that lend an appearance of uniformity. 045 1982 Sailboat, mixed media, 8"x 9.5" mostly about color. 046 1987 "Najla" Acrylic, 8"x 9.5" his niece at age 2 ½. 047 1983 Abstract, acrylic, 66"x 45" an overall idea of uniformity but a lot going on in structural dynamics that speaks to differences rather than similarities. 048 1970 Abstract, oil, 20"x 24" Characters at a masked ball, a simplification of forms into a motif of patterns. 049 1983 Westport, oil, 14"x 18" Westport Furniture Factory, stylized reduction of shapes of the old factory building reflected from the river. 050 1977 Melony, oil, 12"x 16" 051 1987 Green Spoon, acrylic, 36"x 36" One of a series while living in Boston. 052 1985 Self Portrait, oil, 9"x 12" 053 1986 Bottles, acrylic, 20"x 24" Intersecting field forms and flirting with the form of bottles. 054 1986 Millie's Roof, mixed media, 7.75"x 9.5" 055 1987 Cups, acrylic, 35"x 26" Part of the Boston series. 056 1987 Dair, print, 7.5"x 9.5" artist was pleased with the painting of his dog. 057 1988 Dair, oil, 18"x 14" 058 1987 Dair, print, 7.5"x 9.5" 059 1970 After Impressionist , drawing, 7"x 5" 060 1970 After Impressionist 80, drawing, 6.5"x 4.5" 061 1993 Plaza, print, 7.5"x 9" 062 1993 Plaza 2, print, 10.5"x 14" 063 1993 Theater District, print, 7.5"x 9" part of Portraits of Manhattan 064 1994 Red Bottle, print, 9"x 7" 065 1994 Setting 11, print, 9"x 7" 066 1999 Mitchell Yard, oil, 18"x 24" Karen Mitchell was a friend in Rosendale, NY The artist lived and worked at the Mitchell house for several yers. 067 2002 Hand Made Book, 8.5"x 11" 068 2004 Woodstock, mixed media, 8"x 10" Woodstock, the town. It was one of the oldest artists’ colony in the US and not where they had the music festival. The mountain in the back is Overlook Mt. 069 2004 Woodstock 2, mixed media, 8"x 10" Woodstock 2, living in Rosendale, NY. This was a series of Ulster County 070 2011 Provincetown Harbor, oil, 8.5"x 11" part of an extensive series. 071 2011 Donna Marie, 34"x 44", Mixed Media, 072 1971 , Hydra Starscape, oil on canvas, . A field painting which has an appearance of overall unity, inspired by looking at stars in the Aegean in Greece. The artist used to sleep on the flat roof of the house and be able to see more and more layers in patterns with deep looking. It was related to the unified field and made up of galaxies and solar systems. 073 1972, Woman In The Stars #2, 22"x 27", oil on linen, Painted in southern France and influenced by light and surroundings. 074 1972 , Woman In The Stars #3, 22"x 27", oil on linen, Painted in southern France and influenced by light and surroundings. 075 1973, Saint Sebastian , acrylic on canvas Saint Sebastian was a Roman centurion who became a Christian and elected not to serve the Roman war machine. He was condemned to be shot with arrows. In this painting we see Saint Sebastian in the center. The Roman soldier holding him has a face which is similar to aboriginal shamanic paintings and represents the primal core. This is an amoral beast. The second centurion has the face of civilization. In the lower right a woman with a halo and third-eye dot symbolizing divine sight holds a candle. She represents feminine energy and sympathetic intellect. Shapes of lances and swords against a yellow sky symbolize battle. This was one of five paintings about Saint Sebastian and part of an anti-war collection called “Father Courage”. These were in response to the Viet Nam war. 076 1969, Messenger , 14"x 16", oil on canvas 077 1969 , 8"x 10" 078 1969 , 8"x 10" 079 2011 79th St. Manhattan, 34"x 44", Mixed New Media,