The series windows uses a religious Stain-glass window format. Some of the works display a grid in combinations of sections wiped away to mimic historical works under restoration. While using a organic abstract drawing technique the works appear to be created from light reminiscent of early master techniques particularly (Chiaroscuro).

Series: Windows
Title: W-8
Size: 60 “ x 36 “
Date:1988
Medium: Pastel on paper



Series:Still life's
Title: 000.001
Size: 72 “ x 72 “
Date: 1992-1994
Medium: Mixed media on wood panel

Early Works

Many of the earliest paintings by Mr. Fludd show a strong affinity toward the spiritual, after graduating college he continued to work at Ronin Gallery where he was exposed to Ukiyo-e prints of Japan. This exposure also helped in the development of his early painting techniques particularly around the use of calligraphy brush work. As a beginning artist he quickly realized that the search for a unique presence in painting could only be achieved by rigorous hours of searching via the studio. So from 1986-1996 Mr. Fludd spent most of his time creating and exploring various mediums coming into to a unique way of seeing painting and future expressions of art.

Studio Years

The works produced by Mr. Fludd in the early 1990’s became concerned with the universality of symbolism as seen in early religious works worldwide. He also became increasingly concerned with the integration of language and the usage of metaphor as an expression of direct meaning in a pictorial context. In an attempt to catalog the inner experience as a universal element shared by all and more importantly the shared journey that artist experience during such introspective contemplation. These works uniquely catalog thought as a form of expression and by doing so took on the appearance of patterns. I.e. (thought patterns) Realizing that art and science were moving unilaterally toward an explanation of a common phenomenon, the idea that thought was a derivative of how we experience objects and how these patterns are constructed of symbols representing this experience was an exciting idea. Some of the most compelling works of this time were capsulated in a series entitled (Still Life’s1990-1992) this series represented some of the ideals discussed previously and began to incorporate a new lexicon concerning issues of perception. Mr. Fludd continues in working to refine the major roles that visual art plays as a dialogue and documentation of human evolution in its attempt to reach a higher state of perceptual being.