These composites are based one or two cuniform based themes which are repeated or imitated by successively entering concepts and counter-concepts developed in a continuous interweaving of the separate parts. Various Episodes using modified compositional themes are characterized by systematic imitation of one or more themes in counterpoint. The principal theme is repeated successively in similar form but expressed through different concepts . Happy Trails, Larry Coffin 2014 Chiangrai, thailand

Painting directly from nature "En Plein air" for me was never an option. I was not interested in reproducing nature, or realism.I try to find the abstract geometry that is underneath all of nature. The pellets hitting the surface and the fish attacking the pellets make ripples and it becomes an interaction of circles overlapping each other in endlessly complicated ways. That was my way of using nature "en plein air" to inspire the concept of these images. Each of the eight series starts with an original composition and then variations of each were made.

These paintings were done (with a few exceptions)this year, 2012-13, in Thailand, and 2011 in Denmark. I had just published "Digital Paintings" Vol 1 and wanted even more to approach the works from a painterly traditional point of view, which had been my training. The book is divided into three sections, Landscapes, Figurative, and Still-life's. There are many influences represented here but mainly it represents a struggle to establish a style that is my own while at the same time experimenting and being as creative as possible with techniques and concepts. I have a suspicion that I don't have a single style. But rather, my entire approach seems to be experimental. Trying something relatively new each time. One thing I have learned for certain. Painting is about the choices you make regarding what you leave out, rather than what you choose to include. And that is what leads to the interpretation rather than the realistic replication. Larry Coffin Chiangrai, Thailand 2013

These paintings were done over a period of two years partly in Thailand and in Denmark. I had traveled with my family to Aalborg, Denmark where my wife was doing her doctoral studies. I spent the day wondering around the old city and sitting at my computer experimenting with digital painting. I had produced other works digitally but in this set I wanted to approach the works from a painterly traditional point of view, which had been my training. The days during part of the year were very long and I had an abundance of time to experiment. These works represent only a small fraction of the body of work I produced during that time. Some of these works are compositions with references to objects and some are purely non-representational. Many different interests and influences are represented here as I had spent twenty years in Santa Fe, New Mexico, and since retired to Thailand. And of course the new experience of the Scandinavian lifestyle and climate.

These composites are based one or two visual themes which are repeated or imitated by successively entering concepts and counter-concepts developed in a continuous interweaving of the separate parts. Various Episodes using modified compositional themes are characterized by systematic imitation of one or more themes in counterpoint. The principal theme is repeated successively in similar form but expressed through different concepts . Happy Trails, Larry Coffin 2014 Chiangrai, thailand

These paintings are called light fractal because they are created entirely with pixels of light. And fractal because the method of creation is with a new and experimental set of "brushes" that each have a unique set of fractal algorithms. What further sets them apart is in the act of applying the color/light, the brush acts dynamically, has a unique movement. And as that movement unfolds you react and interact with the brush. It is a completely unique way of painting. There is a leading and a following simultaneously. And like any digital graphic software, a seemingly endless number of variations are available to create brushes.

Dyes, pigments & patinas. When dyes are used, the result is a transparent coating that reveals the metal and any marks etched onto the surface. The color and the metal are viewed simultaneously. By comparison, when pigments are used the metal is not visible. The marks made on the surface can been seen as a texture, but not the metal itself. Patinas are a special case altogether. They can be transparent, semi-transparent or completely opaque. What is more, they react with the metal surface and form a new chemical that produces the coloration. Unlike dyes and pigments, patinas join with the metal and become part of the surface. Hence they have a very unique quality because they are the coloration and the metal simultaneously.

Revisiting early work is always a very rewarding event. Always revealing. Always rediscovering forgotten concepts. Little drawings and watercolors, some damaged, torn. Fragments of broken, unfinished sculpture. The work has not changed but time has passed and you have . Now, you have a chance to take a second look. You re-view, rethink and retrace them in your mind. Recreating and imagining them in a new set of processes, reappearing in a new light, transformed.

These are two composites in which one or two visual themes are repeated or imitated by successively entering concepts and counter-concepts developed in a continuous interweaving of the separate parts. Various Episodes using modified compositional themes are characterized by systematic imitation of one or more themes in counterpoint. The principal theme is repeated successively in similar form but expressed through different concepts .

Denada means "of nothing." These figures relate to the Dadaist tradition. they were not constructed or composed, rather found or discovered in larger compositions. I noticed them as I was working on the other images and realized that there were so many, and appeared so consistently and often, that I would come back and find them again before I began another series of images. T o me they are mainly humorous. Notice how complex some of the images are in terms of multiple figures in the same image. Perhaps you will even see different ones than I did. Happy Trails, Larry Coffin

These works are variations/tessellations of the original core image Huichol Wedding on page 9. They were inspired by the artwork of the huichol indians of mexico. The huichol are a peyote culture who make their paintings by pressing beads or yarn into a beeswax/pineresin mixture.

These composites are based one or two visual themes which are repeated or imitated by successively entering concepts and counter-concepts developed in a continuous interweaving of the separate parts. Various Episodes using modified compositional themes are characterized by systematic imitation of one or more themes in counterpoint. The principal theme is repeated successively in similar form but expressed through different concepts . Happy Trails, Larry Coffin 2014 Chiangrai, thailand

These new drawings are all computer related. Some are early works revisited and used as a core image for variations. Others are completely digitially created and then variations were made. A few drawings are abstract in the sense they had a subject of some kind. Mostly they are nonrepresentational, totally expressionistic drawings.

Now, this little book is an attempt to lay out some examples of relative positions/patterns that constantly occur in doubles. And then, how to react to those situations with intelligence and percentages on your side. What then should these ten pages be called? Are they rules, guidelines, dialogues, arguments, principles, fundamentals, theorems, postulations, edicts, considerations, decrees, reference points, laws, constructs, commands, criteria, standards, assumptions? Any, or all of these? This is an attempt to write down as simply as possible, the concepts that constitute a "doubles school" and that all good doubles players assume are "given." Pure percentage tennis. They have been tested and proven to be true at all levels of play. Watch a professional doubles match. See for yourself if they violate any of these concepts. And, if they do, is the point won or lost? What percentage of times?