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