John T. Cooksey collaboration with Alana Cooksey, ©2014, oil on canvas, 48in. diameter

Based on an alphabet my daughter Alana designed.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey collaboration with Alana Cooksey, ©2014, oil on canvas, 36in. x 36in.

The first stanza from Alana Cooksey's poem "Becornered", written in her alphabet. For the whole poem, check out her website in my links.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey collaboration with Alana Cooksey, ©2014, oil on canvas, 36in. x 36in.

Based on an alphabet my daughter Alana designed.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2013, oil on canvas, approx. 66in. x 36in. (irregular)

Inspired by a line from Tennessee Williams' play "Cat on a Hot Tin Roof" 

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2013, oil on canvas, approx. 66in. x 37in. (irregular)

From a statement made by former Michign Governor George Romney.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2012, oil on canvas, 40in. x 60in.

A superimposition of the Greek and Roman alphabets.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2012, oil on canvas, 48in. diameter

A superimposition of the Greek and Roman alphabets.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2012, oil on canvas, 43in. diameter

The snakes emanating from the skull weave through a spiral grid. Each leads to one of the 36 characters which make up the Greek and Roman alphabets.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2010, oil on canvas, 32in. x 44in.

Written language (the alphabet) is the means by which we access the knowledge of our collective ancestors (the skulls). 

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2009, oil on canvas, 48in. x32in.

No deep meaning implied by the question mark. I just like the shape.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2007, oil on canvas, 24in. x 40in.

An observation about the relationship of certainty and ignorance.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey ©2004, acrylic on canvas, 48in. diameter

Color symbolizes the subjective eye, geometry the objective.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2004, oil on canvas, 48in. diameter

Greek was my first language.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2003, oil on canvas, 24in. x 34in.

An indictment of demagoguery.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2003, acrylic and oil on canvas, 36in. x 36in.

Attributed to George Harrison

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2003, acrylic on canvas, 24in. x 30in.

Captions are only necessary when an illustration has failed to convey its message.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.

John T. Cooksey, ©2003, Prismacolor on illustration board, 19in. x24in.

Captions are only necessary when an illustration has failed to convey its message.

In the Typography and Language paintings, the message in the type, though still relevant, is subordinated to the aesthetics of the composition. Characters become abstracted shapes, lines, and patterns in the painting’s overall design.