
Geiser wants the work to sing. It does. Look at the earlier "Cenote Series" - the large circles - perhaps reminiscent of early sculpture by Richard Serra. The panels-the parts in relation to the whole-are not incidental to how the painting is structured. They exist of necessity. They are part of what makes the painting significant, what gives the painting its expressive energy. Geiser's work is always on time, always engaged in a process of temporality and transference, transference from the world of nature, the world of eternal struggle, to some wondrous outward manifestation. They are not paintings that project a mood so much as paintings that give vitality and meaning to a world that has (temporarily?) lost its sense of tactile response to the intimate phenomena of everyday life. Geiser's paintings help restore a sense of intimacy to the world-a tall order that only a painter who has a vision can achieve. David Geiser is such a painter.
- Excerpt from essay by Robert C. Morgan
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