Charles DiJulio has fostered an extensive career that has not only included exhibiting works for over four decades, but also encompasses being a key member in several art organizations. The two most prominent associations have been Criss Cross and the avant- garde artist commune Drop City. He has shown his work across the nation and has held a strong presence in New York City since 1978. DiJulio’s work has evolved over time from loose action like paintings to his better-known style of systemic painting. Largely influenced by the dynamic relationship between structural patterning and the freedom vibrant color palettes offer, Charles DiJulio works have a commanding presence that is undeniable.

DiJulio’s background falls nothing short of intriguing, however most notable point of personal interest is his involvement with the creative commune Drop City. The artists Gene Bernofsky, JoAnn Bernofsky, Richard Kallweit and Clark Richert founded the site in 1965. The commune was formerly a goat pasture, which was located in southern Colorado just a few miles off from the city of Trinidad. The structures themselves originated from the conceptual and impromptu performances of Allan Kaprow, John Cage, Robert Rauschenberg and Buckminster Fuller at the Black Mountain College. Other influences of the "triacontahedron" and "zonohedra" geometric domes where gleaned from the architectural designs of Buckminster Fuller and Steve Baer.

Coinciding with this time frame, DiJulio was also an active member in the major abstractionist group Criss Cross. This artist collective’s platform was centered on the idea of creating synergy within works through systematic abstract patterning that was non- decorative. This definition precisely fit the format of DiJulio’s work and thought process, hence his heavy involvement from 1974 to 1981.

Charles DiJulio continues to exhibit regularly with his last show being at N.Y.C.’s 128 Gallery this past December. He has cultivated an uninterrupted and an extensive career that has a broad scope ranging outside of exhibitions and into the art world itself. DiJulio has been a key member in the non- decorative abstract art movement and has impacted classical perceptions of art through his innovative tactics. He has a true understanding of his work, which enables him to continue to grow and explore new ground. Few artists have the luxury of facilitating a lengthy career, even fewer foster one that is continually exciting from one passage from the next. Charles DiJulio can be noted within both realms, the only thing that may be more impressive than this are the works themselves.

Brittany Schall