This exhibition represents a crest in the ocean of my artistic voyage, rooted in the foundations of my past work while pushing into uncharted creative territory. Over the years, I’ve sought new ways to express myself—experimenting with color schemes, patterns, and techniques. This collection draws heavily from ideas and concepts that were once left behind or not fully explored, blending them with fresh approaches to create something entirely new.

At the heart of this show is a piece titled  Chansons Abandonnées ("Abandoned Songs"). This work revisits themes I explored in an earlier painting, Lost Songs (2005), and embodies the central idea of revisiting, reclaiming, and expanding upon forgotten or dormant ideas.

While preparing for the recent release of my book, which reviews 40 years of my work, I had the opportunity to reflect deeply on my creative evolution. Revisiting earlier pieces unearthed forgotten techniques and concepts that had long been shelved. This rediscovery became the driving force behind many of the works in this show.

Night-Blooming Flowers: Work in Contrasts 

The first pieces I created for this collection were inspired by night-blooming flowers, such as Twin Blooms, Deep Summer, and Night Lily with Pomegranate and Okra. For these works, I employed an older glazing technique to create a sense of depth—pushing the darker backgrounds back to enhance the luminous, lighter foregrounds. The resulting contrast evokes the quiet intensity of nocturnal beauty.

Acadian Eclipse: Capturing the Light of a Moment

Acadian Eclipse, was completed in late spring. It was inspired by the surreal light during a solar eclipse, a moment that felt suspended between day, night, and twilight. This work features a central image of a barking dog, framed against a stark, darker background, a motif I’ve explored extensively in the past. The challenge was capturing the eclipse’s fleeting, otherworldly light while maintaining the high contrast that anchors the work.

 A Grid of Exploration: Smaller Works 

The smaller pieces in this show were conceived as both studies and finished works. Arranged in a grid, they explore diverse themes and techniques. Notable works include Coastal Prairie with Attakapas Hand, Contemplating the Ossan Two-Step, and Two Guitars Avec  Couteau. For Contemplating the Ossan Two-Step, I revisited the fragmented imagery of a 2011 piece titled Burgundy Mist, aiming to delve deeper into its disjointed narrative and composition. 

During this process, I noticed a recurring circular motif, which culminated in a larger work called Dark Pool. Inspired by the shimmering, iridescent colors of oil on water, this piece stands out for its intensity and focus, expanding on my long-standing exploration of water imagery.

Some pieces in this collection depict events rather than abstract impressions. Works such as Full Moon at the Blue Moon, Entering the Green Room at Bobby Charles’ Club in Holly Beach, and Gumbo Ce Soir capture specific moments and memories. Others, like Burning Green Firewood and Triplerow, offer poetic glimpses of fleeting experiences.

One recurring vision throughout the summer was that of a burning city—a vivid, almost dreamlike image that seemed to symbolize the intense heat, chaos, and energy of urban life. I This motif weaves through several works, reflecting an emotional undercurrent that I felt compelled to explore. The Image haunted me all summer. 

Final Works: Reflection and Forward Motion

The last two pieces I completed for this show were Requiem for a King and Mystic New Crown Princess,. Requiem for a King revisits a small watercolor I painted in 1988, expanding its composition into a larger format for the first time. The timing felt right, as this year marks the centennial of the legendary musician Clifton Chenier’s  birth.