As a group, Newman’s works evoke eclectic references, but without specificity. They are highly associative, but without quoting anything or any stylistic movement in particular. In some instances, Ikebana, the Japanese art of flower arrangement, comes to mind when studying the relationships between unlike elements, such as structures made of blown glass, tulle and cast acrylic.Rounded forms combined with a bright palette initiate an overall cartoon-esque quality in some works, whereas complicated geometric problems define the core of others. Though varying greatly and proving an underlying wealth of imagination, all of Newman’s works can be thought of as arrangements, yet without establishing a decorative or craft-like feel. They are neither trivial nor simply ornate. Instead, they are intelligent and highly sophisticated in their classic exploration of balance. Newman challenges himself to develop unusual or even radical forms, and to fuse them into constructs that exude a clear sense of harmony. His sculptures might be vibrant melting pots, extreme hybrids, and enchanting puzzles, but they also are classic compositions of art.

It was towards the late 1990s that Newman shifted paths. Before, he had worked large, creating sculptures whose sheer scale gave them a distinct and at times somewhat imposing presence. These works were inspired by geometric principles and their muted palette accentuated a more restrained outlook on expression. Though Newman wove many of his former concerns into his new body of work, it differs greatly. Brewing together his acquired knowledge of form with a new affinity for a saturated palette, Newman allows his smaller works to appear both sophisticated and quirky.

Much of Newman’s work is about the unification of opposites. In that sense, a dialogue between biomorphic and geometric forms, soft and hard structures, or between hot and cold, aggressive and passive elements, sparks each work. This can bestow a somewhat human quality onto some of the works. Each is distinct in its accumulation of attributes, which can range from mysterious, humorous, determined, unapologetic, aloof, tender, bold, and sexy to ethereal. Despite Newman’s devotion to abstraction, his sculptures can at times appear as figurative. In the past, some works have even referenced (albeit in a most abstract manner) ballerinas or the Brothers Grimm’s Rapunzel, for example. 

In his newest selection of work, presented by New York’s Tibor de Nagy Gallery this past spring (March 15-April 21, 2012), a work entitled “Red and Wooden Span” (2012) evokes a layered tongue. Here, three distinct curvilinear shapes, one made of laminated wood, one of extruded aluminum painted red, and one of papier-mâché painted in a distinct geometric pattern, are stacked on top of each other. It is their shared wave-like structure that transforms these three distinctly different components into one solid family unit; it is the palette of the overall composition, ranging from off-white and light pink to deep red and black, that adds an additional sense of dramatic dynamism. Meanwhile, “Green and White and Hanging On” is an excellent example of Newman’s interest in balance. A white piece of sculpted glass, forming an elegant arch describes this sculpture’s foundation. On its top, mint tulle and a bronze cast from a eucalyptus bark are set up horizontally. From the edge of the latter, a forged iron piece that translates as a line drawing dangles delicately. The whiteness of the glass provides a sense of otherworldly weightlessness. This is a meditation on finely nuanced relationships; every distinct part of the sculpture is attached to each other, but can be viewed both individually and in correlation.