Watercolor on paper infused with epoxy. 24 x 24 in. Collection John and Mable Ringling Museum of Art.
Whatever the medium, all of Solomon’s work invites contemplation and reflection. Some of it is literally reflective— light bounces off shiny resin and shimmering wax — and colors are activated by illumination that penetrates shallow but perceptible space. But these physical properties alone don’t account for its fascination. It is that extra, intangible element, going beyond the material’s sensuous appeal — what Solomon calls “taking it to the next level”—that sets it apart. His art embodies fundamental qualities that he perceives in nature, for which he creates aesthetic analogies. Without imitating those qualities he captures their essence, pins it down and offers it as a gift to those who take the time to receive it.
— Helen A. Harrison, Director of the Pollock Krasner House and Studio
Beeswax on muslin/acrylic on canvas. 60 x 60 in. Collection Cantor Fitzgerald, New York, NY.
Only rarely does this light appear on canvas — it happens in Jane Freilicher, Fairfield Porter, Jane Wilson, and, of course de Kooning — and it can only be represented indirectly. Solomon, however, is of a different generation and temperament, and the materials he uses allow him to treat light more directly. What he has accomplished in these paintings is more on the level of magic than mimicry. He shows us something familiar about the world in a way we had not anticipated, and transcendence arrives in that moment of surprised recognition.
— Robert Long, writer, late author of De Kooning's Bicycle and art critic of East Hampton Star
Watercolor on paper infused with epoxy. 24 x 24 in. Collection Thomas and Darlene Furst.
To be clear, Solomon is not waxing nostalgic, he's speaking more of the physiological properties of memory — the mnemonic and cognition, optics, neuroscience and the visual brain — as if moments in time could be spliced paper-thin. And so, contained in Solomon's grid work are the moments, memories and the small poetries that function at the edges of actuality. That subtle piercing into the fabric of memory is one of the mainstays of his oeuvre.
— Janet Goleas, Editor /Owner of Blinnk Blog Spot and Curator
A Frank O 'Hara Summer, 2012
#1, 2006
Abraham's Path, 2012
