David Carbone draws parallels between Andrew Forge's paintings and Morton Feldman's music

Painter David Carbone reflects on connections between Andrew Forge's 2015 exhibition at Betty Cuningham Gallery and Morton Feldman's 2011 opera Neither. Forge's show, running from June 4 to August 14, 2015, featured watercolors and oils exploring color fields and grids. His works reference Paul Klee, Claude Monet, Robert Rauschenberg, and North African rugs. Feldman's monodrama, based on Samuel Beckett's text, premiered at New York City Opera. Both artists wrote extensively about their fields, with Forge's writings covering Klee, Monet, and Rauschenberg, while Feldman's essays appear in Give My Regards to Eighth Street. They shared influences from John Cage and Rauschenberg. Forge's paintings like Aurélia (1985), Willow (1999), and Heavy Hemlocks (1999) synthesize elements from Monet, Jules Olitski, and Morris Louis. His process involved structural rules paralleling nature, quoting Klee's On Modern Art. Feldman described his music as exploring shadows of understanding. Carbone notes both create lucid-dream states through scale and duration, with Forge's works changing perception based on viewing distance.