Inspired by the construction sites which dot his home city of Manhattan, Roger Winter’s latest series of scaffoldings, exposed buttresses, elevator shafts and otherwise overlooked moments of urban demolition, find fresh meaning in the artist’s geometric and precisionist works.

The simplified linear compositions of Winter’s cityscapes evolved in 2016 while the artist concentrated on condensing his work––reducing it to essentials.  “An artist’s imperative is to grow, sometimes in small steps and sometimes in metamorphic leaps,” he says. “My current geometric works, while derived from the visibly intelligible world, are more real to me than any previous representational works. A painting of a square is a square, whatever its metaphysical or poetic references. But to borrow from Magritte, a painting of a pipe is not a pipe.”

The varied widths, color, and textures among the paintings’ strong geometric lines create a richness of multiplicity within their structure. Art historian Susie Kalil, author of Roger Winter: Fire and Ice, remarks, “The overlapping shapes, the harmonious and dissonant mix of colors and the deep shadows created by strong light emphasize the rich, visual geometries of Manhattan, if not the very beat of the city.”

Roger Winter, born in Denison, Texas, lives and works in New York. He holds a BFA from the University of Texas at Austin and a MFA from the University of Iowa in Iowa City. He returned to Texas in 1961 where he taught drawing and painting at Southern Methodist University for twenty-six years.