MT: inlay epoxy paint on canvas in perspex case (245x245x5)
TX: printed on label #1 at center left <LEO CASTELLI 4 E. 77 N.Y. 21 / NASSOS DAPHNIS / "#11-68", 1968 / Epoxy paint on canvas / 96"x96" / (301)>, on label #2 at center <From the Collection of / Mr. and Mrs. Robert B. Meyer / Artist: DAPHNIS, Nassos (PS95) / Title: "#11-68", 1968 / Medium: Epoxy paint on Canvas / Gallery: Leo Castelli, Inc. New York City / Date: 11/22/68 / Size: 96"x96">
CM: Daphnis' #11-68 exemplifies elloquently his Color Plane Theory. With a focus on color as a principal element, Daphnis uses a receding succession of pure hues for the energy and dynamism, which they intrinsically convey. In a format resembling a 'mandorla' (the Indian version of a halo) the succesion of colors is as follows: orange, black, red, blue, white, yellow, and red. Though based upon exhaustive perceptual investigations, the aureolic quality of #11-68 possesses strong spiritual implications as well; something like the fall of man from darkness to light or - by extension - from matter to spirit. Daphnis himself suggested that his work may question the future of geometry and go "beyond what we know" [Zona p. 97].
#11-68 was one of the paintings featured in Nassos Daphnis' major retrospective exhibition curated by Timothy A. Eaton in 1993 at Boca Raton Museum of Art & The Butler Institute of American Art.
BIBLIOGRAPHY: ZONA, LUIS A. Nassos Daphnis: Color and Form - A Retrospective 1993 Boca Raton Museum of Art & The Butler Institute of American Art, p.70