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If one were a purist, abstraction’s greatest challenge would be to remain completely decoupled from referent. Not from figuration, per se, but from anything that might anchor the work, or the viewer, to something real. Fortunately for us, Andrew Faris isn’t that much of a purist. He leaves just enough referent within the scope of a work, if not necessarily on their surface. Consider Fountainhead, for example, a large-scale raw canvas awash in diluted acrylics. Fountainhead, the term anchored in literature but rife with multiple meanings, springs forth in a sea of push and pull, yellow and …