Oil Paintings on Canvas
SYMMETRICAL FOUR-LAYERED OVOIDS & LATTICES III, 2016
Oil on canvas
60 x 80 inches diptych
$12,000
SYMMETRICAL OVOID LATTICES V, 2013
Oil on canvas
40 x 63.75 inches
$6,500
SYMMETRICAL OVOID LATTICES VIII, 2015
Oil on canvas
32 x 80 inches diptych
$6,500
SYMMETRICAL OVOID LATTICES VI, 2013
Oil on canvas over panel, diptych
40.5 x 85 inches
$7,500
FOUR COILED STARS FIELD, 2010
Oil on canvas
72 x 108 inches
$12,000
Watercolors
SYMMETRICAL FOUR-LAYERED LATTICES #7, 2014
Watercolor on paper
31.5 x 41 inches
$2,300
ASYMMETRICAL FOUR-LAYERED OVOID LATTICES, VERSION I #1, 2011
Watercolor on paper
31.5 x 44 inches
$2,000
SYMMETRICAL FOUR-LAYERED OVOID LATTICES #4, 2011
Watercolor on paper
31.5 x 44 inches
$2,250
ASYMMETRICAL FOUR-LAYERED OVOID LATTICES, VERSION II, #1, 2011
Watercolor on paper
31.5 x 44 inches
$2,250
SYMMETRICAL FOUR-LAYERED OVOID LATTICES #6, 2012
Watercolor on paper
31.5 x 44 inches
$2,250
ASYMMETRICAL FOUR-LAYERED OVOID LATTICES, VERSION II, #2, 2012
Watercolor on paper
31.5 x 44 inches
$2,000
THREE-LAYERED OVOID LATTICES #2, 2012
Watercolor on paper
31.5 x 44 inches
$2,250
FOLDED FIELD #8 C, 2008
White watercolor on black Arches Cover
22 x 30 inches
$1,600
WHITE/BLACK BIPOLAR COILS #2, 2009
White watercolor on black Arches Cover
22 x 30 inches
$1,600
WHITE/BLACK CROSSING OVAL COILS #1, 2009
White watercolor on black Arches Cover
22 x 30 inches
$1,600 framed
STUDY FOR YELLOW ORANGE/MAGENTA CROSSING OVAL COILS, 2008
Watercolor and graphite drawing on paper
22 x 30 inches
$1,600. framed
LARGE CROSSING OVAL COILS 7, 2006
Watercolor on paper, 29.5 x 41.5 inches
$2,200 framed
I should say something about the painterliness of the paintings, which people express surprise over when they see them in the flesh for the first time. (I think most people expect geometric abstraction to be flat and graphic.) The undiluted, impasto, conspicuously brushed paint becomes almost mosaic-like where I nudge it into the tiniest shapes. I want every shape (large or small, positive or negative) to have equal physicality, equal presence on the surface. I don't like holes (or unmapped spaces) or things hiding behind other things. James Turrell said in a talk in Portland last month that he wanted, in Roden Crater and in his oculus chambers, to frame the sky and to bring it within touching distance. I'm aiming for a similar presence, and while that might not seem to be a particularly ambitious (or difficult) goal in painting, since they are inherently framed and flat, I've actually experienced that intense sensation of complete fullness and physicality in few paintings I've seen over the years.
—Michael Knutson
