Danny R.

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The paintings offered for sale here
feed into an auction that begins
each Saturday. The image in the
upper left of each category will be
the next week’s auction subject. I
will offer a “Tip,” a “Tinnitus,” and
an 8 x 10 inch “Clufffalo Numbers,”
with bidding closing on the
following Wednesday at noon. The
“Tips” series and “Tinnitus” series
each, are closed and total approximately
one thousand works.

The “Clufffalo Numbers” series
is open and includes paintings of
other dimensions, besides the 8 x
10s offered here—in the Archive
see “Clufffaloes 2014-2019.”

I seek a maximum pitch of painterly
power and make it available
at a modest cost determined by
transparent demand:

“Charlie is most known for the
lush physicality of his painting, a
physicality referenced in a lifelong
project he calls Pepfog, an acronym
for the ‘Photographic Epic of
a Painter as A Film or a Ghost.’ The
painter as a film or a ghost seems
to reference not only photographic
means of reproduction, and films
of Charlie are not to be missed, but
also the trace or ghost of Charlie
and his hand and sensibility his
work so consistently evokes. Energic,
sensuous and often joyous, his
magisterial painting stands askance
to what we often think of as the
Buffalo style.”

Art Historian, Jonathan Katz

“Clough falls blissfully on the
side of color and chaos with full
knowledge of its liberating effects,
as well as its power to overwhelm.
Contemplating these paintings
one is awash in color, staring into
an abyss of perpetual motion and
commingling fluids, of violent
ruptures and soothing passages,
of billowing clouds and wide arcs,
of pure energy known in Chinese
philosophy as Ch’i. The paintings
present an oceanic world of
allusions and resemblances where
meanings shift constantly and
boundaries blur, especially the
contours separating self and other.”

Curator, Sandra Firmin

“On the one hand, Charlie gives
you the raw, hot, splashy ontology
of the paint, or, at least, its semblance;
but on the other, he also
gives you the cold, indifferent,
remote, impersonal epistemological
effect, of the photograph, or
rather, of the photo-mechanical
‘cause’ and causality of our Age, or,
at least, it semblance. . . . Looking
at one of Charlie’s paintings is like
watching the struggle of first principles
being played out on a huge
cinemascope movie screen.”

Curator, Poet, Richard Milazzo

The paintings offered for sale here feed into an auction that begins each Saturday. The image in the upper left of each category will be the next week’s auction subject. I will offer a “Tip,” a “Tinnitus,” and an 8 x 10 inch “Clufffalo Numbers,” with bidding closing on the following Wednesday at noon. The “Tips” series and “Tinnitus” series each, are closed and total approximately one thousand works.

The “Clufffalo Numbers” series is open and includes paintings of other dimensions, besides the 8 x 10s offered here—in the Archive see “Clufffaloes 2014-2019.”

I seek a maximum pitch of painterly power and make it available at a modest cost determined by transparent demand:

“Charlie is most known for the lush physicality of his painting, a physicality referenced in a lifelong project he calls Pepfog, an acronym for the ‘Photographic Epic of a Painter as A Film or a Ghost.’ The painter as a film or a ghost seems to reference not only photographic means of reproduction, and films of Charlie are not to be missed, but also the trace or ghost of Charlie and his hand and sensibility his work so consistently evokes. Energic, sensuous and often joyous, his magisterial painting stands askance to what we often think of as the Buffalo style.”

Art Historian, Jonathan Katz

“Clough falls blissfully on the side of color and chaos with full knowledge of its liberating effects, as well as its power to overwhelm. Contemplating these paintings one is awash in color, staring into an abyss of perpetual motion and commingling fluids, of violent ruptures and soothing passages, of billowing clouds and wide arcs, of pure energy known in Chinese philosophy as Ch’i. The paintings present an oceanic world of allusions and resemblances where meanings shift constantly and boundaries blur, especially the contours separating self and other.”

Curator, Sandra Firmin

“On the one hand, Charlie gives you the raw, hot, splashy ontology of the paint, or, at least, its semblance; but on the other, he also gives you the cold, indifferent, remote, impersonal epistemological effect, of the photograph, or rather, of the photo-mechanical ‘cause’ and causality of our Age, or, at least, it semblance. . . . Looking at one of Charlie’s paintings is like watching the struggle of first principles being played out on a huge cinemascope movie screen.”

Curator, Poet, Richard Milazzo