• We have represented this extraordinary, internationally recognized visionary artist for 25 years.

    Baltimore, MD 12/15/1956

    2005: MAE: University of Alabama
    1979: BFA program: George Washington University, Wash., DC
    1976: ABFA: American University, Paris, France / Ecole des Beaux Arts, Paris, France
    1974: Graduate: Indian Springs Preparatory School, Helena. Al.


    For the 4, The 16th Street Baptist Church, Birmingham, AL

    Marbellascapes, Maralyn Wilson Gallery, Birmingham, AL

    Neo-Giotto, Mira Gallery, Marbella, SPAIN

    Studies for Neo-Giotto, Aino Art, Marbella, SPAIN

    Russian Easter, Aino Art (AA), Gallery 5E73, New York, NY

    Awake, Aino Art (AA), Gallery 5E73, New York, NY

    Revelation, Aino Art (AA), Gallery 5E73, New York, NY

    Admonition, Aino Art (AA), Gallery 5E73, New York, NY
    Circle of Souls, Donahue/Sosinski Gallery, New York, NY

    Aino Incorporated, Donahue/Sosinski Gallery, New York, NY
    Mandalas, Aino Art, Marbella, SPAIN

    Sacred Spaces, Donahue/Sosinski Gallery, New York, NY

    The Spirit, Clark Art on Park Ave., New York, NY

    Tourist Traps, Bodley Gallery, New York, NY

    Memorial Exhibition, Birmingham Civil Rights Institute, Birmingham, AL

    The Bombing of Hatred, Castillo Cultural Center, New York, NY

    Mazes, Malmaison, New York, NY
    Works on Paper, Raydon Gallery, New York, NY

    Royal Jewels, Raydon Gallery, New York, NY

    Crack the Harlot of Babylon, Nada Gallery, New York, NY

    To the Light, Gray Gallery of NYU/E.M. Donahue Gallery, New York, NY

    The Advent of Thee Art, E.M. Donahue Gallery, New York, NY

    Here, Le Relais Gallery, Birmingham, AL


    Paintings in over 500 private, corporate and public collections in the USA and Europe, including those of the Vatican, the White House, the King of Spain, the Countess of Paris and the Duchess of Alba and Mrs. Paul Mellon.


    Review of Le Relais, The Birmingham News, James Nelson


    Since 1984, Clark has received 4 Presidential commendations for the application of his art to social causes through exhibitions and associated promotions.

    Since 1995, he has received 5 Papal and 4 Royal commendations for his creation of Aino Art Incorporated, an art scholarship nonprofit operating in the USA and Spain, supported by his exhibitions and sales.

    Art Exhibition Grant, Mellon Foundation, New York, NY

    Artist’s Study Grant, Cornell University, Ithaca, NY

  • Statement about the Computerese Series:

    Ancient Chinese philosophers, astronomers, astologers and mathematicians were responsible for discovering the principles underlying the basic binary code, which is only now beginning to realize it’s potential. This arose from the philosophical concept that something either IS or something IS NOT.

    There is a void, an infinite nothingness. The 0 was used to symbolize this void. All that IS coexists within the infinite 0. Contemplating the 0 led to a profound realization; there could ultimately exist only 1 void of infinite dimension. This could be ideated as the “point of realization”. This is the bell ringing in the empty sky. The 0 with a dot in the center symbolized this “point”.

    The point was stretched into space to symbolize dimensionality, the material aspect of this non-void. The 0 bisected by a single straight line was the symbol of this concept of duality.

    The later artistic flourish of the wavy line in the circle became the symbol of this void/non-void; the “yin” and “yang” of existence; the dark and the light, the good and the bad, the living and the dead. The All consisting of opposing forces seeking the equilibrium of nothingness.

    Hence the concept of a great duality emerged, and by separating the bisecting line from the 0, the concepts of the all and the nothing could be better understood as separate entities. This binary system of the 0 and the 1 could be used to symbolize Nothing, All, and everything in between. They may be written in combinations and sequences to represent anything emerging from that original point of realization.

    Philosophers became engaged in a new quandary. What could be done with this incredible realization of these truthes? The accountants stepped in, discovering the utility of the binary system. They could build a tool using theis binary system to improve their bookkeeping. 0s became “outgo, 1s became income. By stringing 0s onto bamboo sticks, then grouping the 0s to represent inventory transactions, they could accurately tract their financial activities. The abacus was invented and perfected to do this job.

    The world is surrounded by an electromagnetic field. Our world today is possible because we discovered how to harness this electricity and use its force to run our tools. This includes the abacus, which evolved into the calculator.

    Scientists eventually learned to compress the universal and all-encompassing 0 + 1 symbols into ever more compact hubs of electric activity in order to represent the All in its infinite diversity.

    Streams of these primary integers have been packed and stacked in infinite combinations and stuffed into boxes. Our world of electronic technology preternaturally emerged in the form of the Computer. It in all its complexity emerged from one profound philosophical concept. There is 1 0. This event merits some form of artistic acknowledgment.

    The Computerese Series is Clark’s effort to accomplish this for the first time. “Integration” in mathematics is the act of putting integers together to create a new entity or whole. Exploring this concept of integration and relating it to our “existence” as one whole entity. are the driving forces behind this Series of 100 paintings.

    During his exploration of the limitations involved in a 3 element format, the 1s, the 0s and the background, Clark discovered the infinite variety of images, whether real or fantastic, which so enamored our Chinese forefathers. However, these paintings transcend their inspiration in many ways.

    There is a 3D quality to the 0+1 paintings. This extra dimension is the result of Clark’s application of his unique manner, now a school of painting, known internationally as “Linearism”. Art critics, as early as 1984, have credited Clark with the original development of this manner of painting.

    He developed his signature technique of Linearism during his emergence as an East Village prodigy of the ‘80’s.

    Clark chose to apply his art to the benefit of the Common Good.

    Memorial art became his forte’. He is considered by many to be one of the great “Cause” painters. Anti racism, anti terrorism, and anti drugs are among the causes for which he has created sometimes controversial exhibitions. After discovering his technique was ideal for representing explosions, he concentrated specifically on memorial paintings to honor the victims of terrorist bombings.

    His first of these memorial paintings is “The Bombing of Hatred”, created in 1984, is now in the permanent collection of the Birmingham Civil Rights Institute. It is the first American memorial to honor the 4 girls killed in “the blast heard around the world”, the KKK bombing of the 16th Street Baptist Church.

    “Integration #1”, the first of the Computerese paintings to be exhibited in public, is on display at the exact point of impact of that tragic explosion in the basement of the Church. Social progress occurs when diverse groups come together as one through faith.

    In classical art, Linear painting is simply the application of lines to create a 2D drawing upon which to apply paint. Linerism, inspired by the artist’s love of Gothic stained glass, brings the lines into 3D by painstakingly applying thin strands of paint to outline the drawing, simulating the lead outlining parts of pictures in stained glass windows. This extra dimension gives a unique quality to all Clark’s twenty five years of work.

    1) Code > the Creation in all its colorful simplicity.
    2) Jumbles (or “Aught One”)> Chaos through ever-increasing complexity
    3) 3D Jumbles> moving ever closer to virtual reality, a new life form emerges
    4) Integration>Life within the Machine

    The first three generations of the Series measure 20” x 24” (51cm x 61cm), and are oil on canvas.The Integration paintings measure 30” x 30”. All are done in Clark’s trademark technique,

    -Jonathan Rogers Clark