Collections
I created this page specifically for designers, curators, and collectors seeking work built on chromatic logic, where color isn’t decoration, but structure.
Each collection: Chromatica, Midwest Memory, Bonsai Ballet, and Desert Pools—offers a distinct approach to hue: monochrome, bichrome, or tri-chrome compositions that hold rhythm, restraint, and architectural presence. These works are designed to anchor space, reward introspection, and adapt seamlessly to refined interiors.
Each collection is adaptable to your space and vision.
Works can be printed on fine archival papers and framed for gallery-grade presentation, mounted on canvas for a traditional feel, or produced on metal for a sleek, contemporary edge. Whether you're staging a quiet vignette or anchoring a grand interior, the format adjusts—without compromising the chromatic logic or compositional integrity.
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For custom sizing, material options, or installation guidance, please contact Terry directly.
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Click the title of any collection to explore its full series, complete with artwork, descriptions, and acquisition details.
Seven bi-chromatic compositions.
Each built from a pair of hues drawn from the visible spectrum—red through violet. The series stages color as architecture: horizontal planes stacked from one to seven, echoing the desert’s layered geology and atmospheric shifts. These are not landscapes, but chromatic constructions.
Designed with modularity in mind, each work can be shaped horizontally or vertically.
Six bi-chromatic compositions.
Each built from a dominant hue and its adjacent neighbor on the color wheel: orange/red, yellow/green, blue/violet. The palette shifts across six chromatic zones, each paired to evoke a specific emotional temperature and architectural presence. These are memory fragments staged in color: a road sign, a water tower, a telephone pole. Familiar forms, rendered with quiet precision.
Five monochromatic compositions.
Each piece stages a bonsai tree mid-gesture, rooted, poised, expressive. The series explores nature as performer, aging as choreography. These are not portraits of trees, but studies in restraint: color held to a single hue, movement distilled to silhouette. The palette softens, the forms quiet. Bonsai Ballet is Terry’s gentlest work: an ode to grace, time, and the architecture of stillness.
Six tri-chromatic compositions.
Each piece is built from three dominant hues—stacked, staged, and held in tension. The series unfolds like a visual fugue: color as cadence, architecture as emotion. These are not literal pools, but chromatic reservoirs—heat, stillness, and saturation arranged in minimalist bands.
