The soul responsibility of an artist is to present their artwork – a language of communication that speaks for itself.
The communication in my art is clear and there is no need for anything to be added.
Occasionally, viewers provide feedback, which helps me better comprehend and recognize what has been expressed.
The relationship to the art is transparent and uncomplicated.
In today's digital medium, much of art remains unable to be experienced as intended. There is no possibility of introspection with the artwork.
In this context, we might as well be blind, for knowledge is elusive without the capacity for introspection.
The fundamental principle of being an artist is making something visible, creating awareness into new ways of seeing. This is taken away by the use of photographs of art.
What takes months to create and rests on a lifetime of creativity is viewed as a photograph as a picture for a short while where it is assigned properties to an expression in which it doesn't belong.
I started researching anything relevant to this expression from recognized cognitive neuroscientists, philosophers, spiritual teachers. To draw parallels between their wisdom and my understanding of my profession.
Hopefully this will give an objective presence to my subjective view and help you imagine in your mind's eye my art.
This art is a new form of expression.
It is like a substance that fits your consciousness.
When something is new it takes time to become part of the collective human psyche.
You have no visual knowledge of what a new expression looks like. I, too, was unaware until it dawned on me.
To alter your perception you would have to participate in the original artwork, to know it.
Only recently while having to start defending the artwork did I realize it contains its own language in its structure and is therefore an entirely new art expression.
It will be a new art movement or art ism once the basics are understood by others. As yet I have not found another artist working in the same way. Some of the concepts are being explored by other artists in the mediums of performance, installations and video.
While living with the artwork or allowing time to be with it, a relationship dynamic is created.
The art expression’s ‘subject’ is akin to meditation or the nature of awareness.
I view the function in this expression as renovating something that was lost from our culture. I feel like this may be along the lines of updating our ancestors, the cave painters' sacred connection to their art in the form of a psychotechnology. Allowing art to have a contemporary function in a deeply primal way.
The actual "new " thing is the vehicle of expression, a sort of construct that I call the substance.
It has formed itself over my sixty plus years of being an artist.
This expression is synonymous with a portal to an entire visual world that remains largely unexplored as a language.
I would normally live in my art studio or visa versa. So the need for a painting to keep my attention and give back to me may be a reason this expression has manifested.
If you push paint around for decades on a surface as an artist this sort of thing is inconceivable, especially in a traditional art medium like paint on a surface.
The visual appearance of the expression is subtle, the actual functional relationship that evolves from the art is revolutionary.
You are only able to see, experience and understand my art in its original form.
Photographs or videos capture a static image not allowing movement of space, contemplation, flashes of insights and the space/form illusion.
Photography turns the artwork into a surface, there is no space to breathe.
If you were able to experience the work you would agree with me and understand that the art was not a picture in a traditional sense, that it was not abstract, that it's closest connection is to surrealism in an obscure way. That its relationship function is obvious.
It is not an abstract picture type art that is orientated a certain way. Any orientation is up. That does not mean it's a piece of something, it has all the elements of a traditional painting, I work in the round. The format is considered although it has many compositional layers.
This new expression changes with each collection, I will explain its practical nature as best I can in the following;
Imagine the construction of realism and surrealism type expressions as a language.
I utilize this language alongside phenomena like pareidolia, optical illusions, implied motion, foreshortening, compositional structures, simultaneous contrast's optical vibrations and anamorphic illusions.
I use the expression of movement as a disruptive strategy to decentralize patterns as well as to link and construct form.
I place points or areas of extreme depth next to areas of foreground in a way that allows your perception to switch the two extremes, so that it ‘bounces’ or opens up space and forms in a number of ways.
This substance is unified, so it freely conveys emotions, concepts, and meaning.
Fused into one spontaneous expression.
In the knowledge that the process of creation is inherently intertwined with the essence of the final outcome.
Awareness without intent or meditating in a presence that doesn't change is paramount to giving art an intrinsic value. This act of surrender becomes an act of true seeing.
Faith and trust embodies the action. The calling or the passion.
A sense of awe is also in some way a lived experience of this working meditation. Creative actions home is
in this arena.
If you could imagine all the above ways of being as the ‘subject’ residing in the new vehicle of expression called 'substance' you will have an idea of the concept of my art.