The cosmic imagery of Wulf Barsch includes “pyramids, palm and cypress trees, juxtapositions of geometric diagrams, suggestions of architecture, rainbows and often a subtle wind blowing in from the left of the painting. Landscapes suggest the desert, but the colors are intense and arbitrary. Barsch has never seen a pyramid firsthand. No figures inhabit these “landscapes of the mind,” but there are clues to man’s hand: the pyramids themselves, geometric figures, cypresses planted in rows along a path or a rare building. But these created landscapes are well-anchored in reality. Memories supply his images. Barsch remembers his first night as a fellow at the American Academy in Rome in the mid-70’s: “There was a terrific wind and a rain storm that night. I looked for a long time into the courtyard where the palms and the cypresses bent and bowed to wind and rain.” Born in Reudnitz, Bohemia, his art expresses a universal theme about the home that he believes he once knew and the life-long struggle to become once again a denizen of that society. “Knowing about that home,” he says, “helps explain the present and control the future.” The views of his “Imaginary Middle-East,” as Frank Sanguinetti aptly calls the landscapes, are the visual recapitulations of moments, which are the symbolic notations of meaningful benchmarks in the artist’s life.