Earle's paintings and his serigraphs--screen prints that use paint films rather than inks--constitute a single body of work.... Large geometric forms predominate: trees pressed flat, angular barns, the receding curves of an evening horizon. On these Earle imposes detail that is at once realistic and decorative, hinting here of the Flemish masters, there of the Japanese printmakers: scored bark, weathered planks, a tracery of shadows. This fusion of design with realism elevates his landscapes to a supernatural plane. The scenes are unmistakably Californian, yet we sense right away that they are not of this world. Gnarled branches may once have been twisted by wind or weather, but now the wind has died down, and the branches are still. Daylight, too, is curiously elusive. We never actually see the sun, yet Earle makes its presence felt by his use of shadow, often placing one large tree directly against his light source. The flattened... [http://home.earthlink.net/~vathek/Earle.html]