To play is to recognize the inner workings of intuition in "Quantum Art'.

David McCullough's Quantum Way Aesthetic

The Quantum Way

My main reason for developing a 'Quantum Art' agenda for a multi - media approach to creating artworks is to find alternative processes, tools, and systems that can maximize my physical, mental, and soul- spirit potential. By using this potential throughout my biophysical 'water-being ' (we are all made of 70% water), I can increase my conscious use of 'quantum coherence' and hand-heart coordination of the actual performance of my art program and all related systems. In this respect I have adapted into my quantum coherent aesthetic a 'cybernetic' approach to my creative explorations of consciousness. Insights from many disciplines have been adapted and used to manage the flow of Q -Way learning experiences in accord with new possibilities for the creation of artworks that dissolve academic boundaries and art speak- dogmatic principles.

The 'Q -Way' flow of all created information then can be used to ultimately 'remaster' many years of art making and transform relative concepts, visual metaphors, and methods into a new recorded quantum art. These new quantum re-enforced principles can now operate from an intuitive heart - centered connection to my water- being and all the intelligent forces that are coordinated through it.

This new qualified and quantified 'Quantum Way' aesthetic can energize all my creative processes and revive an intellectual, holistic, and emotional way of making meaningful new art works. Each exploration into new aesthetic discoveries the 'Quantum Way' unlocks my curiosity about a world of new opportunities to use audio visual vibrations, color, music, and poetry to map and navigate a synthesis of many new discoveries. These insights have enlivened my consciousness and ability to communicate through art both analog and digital technology.

Information from natural phenomena collected from my watercolor field experiences to southwestern national parks have helped in synthesizing relationships to a full range of cosmological cycles that have assisted my reconstruction of newly imagined creations.

By mapping a collective flow of new resources I have expanded the coherent quantum potential of all my biophysical processes into a cosmological openness. My painting, sculpture, and poetic works on paper can now profit from every infusion of the energy of love and creative intelligence in my life.

All the creative cycles available to me in my community are welcome into this process of making 'Quantum Art' and its healthy, enjoyable foundation for an intelligent and spiritual participation in a "Gaia Poesis".

Career Information

I was educated and taught by my family to appreciate art, music, poetry, science and technology in New England (Springfield and Boston) from 1948 - 1968.

I studied art in Boston from 1963 - 65 before being activated into active duty in the U.S. Navy. As a Navy Corpsman during Vietnam War conflict from 1966 -68, I was exposed to the trauma of war and medical service of my orthopedic patients. I still found time off duty to translate these experiences into paintings, sculpture, and drawings.

In 1968 - 70, I studied painting and printmaking (also summer programs at the Aspen School of Contemporary Art and U. of Michigan) at the Kansas City Art Institute.

In 1970, I worked doing labor and welding all summer with an Ohio sculptor and crew building an organic concrete house near Lake Erie. That Fall I spent a brief semester at the newly formed Cal Arts in Burbank,Ca. working on a M.F.A. degree and working on 'Happenings"- performance art with Allan Kaprow and Dick Higgins before deciding to leave and begin my professional studio career in Dallas,Texas.

Since 1970, I have been a professional multi - disciplinarian painter - sculptor, installation, and audio (electronic music) -video performance installation artist. I was the last Texas artist to receive first prize in painting at the Dallas Museum of Art biennial in 1972.

!9976 I taught painting and performance art at the Santa Fe Summer Art School and was artist in residence in music and art at the Western Washington State University in Bellingham, Wa..

I worked on electronic music - video performance installations and rituals in many forms in and out of my Dallas studio from 1970 - 1982. In 1989 I painted in the Australian outback of Kakadu National Park in the Northern Territory and was artist in residence at the Phrahan Art School in Melbourne, Australia in their painting dept. , as well as a multi - media lecturer at art schools throughout the state of Victoria in 1991.

I have exhibited in over 75 one - person exhibitions in galleries, art centers, and museums nationally in a international art gallery in Germany. I have completed Artist in Residency painting and research programs in Melbourne, Australia, Osnabruck, Germany, and Rishikesh, India.

My artworks in all mediums have been collected nationally by major corporations, public collections, museums and by private collectors.

!995 I was the first Texas Artist to receive an Adolph Gottlieb award for twenty years of excellence in painting, as well as the Moss Chumley award in painting from the Southern Methodist U., Meadows Art Museum.

In 2005, I returned to college and received a M.F.A. degree in 2007 in Art and Technology from UT at Dallas. My scholarly research of 'Quantum Art', music, art, and poetry interests continued there and culminated in 2016 with a M.A. in Humanities; Aesthetic Studies.

I am currently living and creating artworks in all mediums in Dallas, Texas, where I am actively involved in a quantum art re - mastering program I created to rediscover new ways of applying art making processes, materials, technology, and influences in music, art, and poetry to painting, sculpture,ceramics,and works on paper. I am also writing a book on Quantum Art and the re - mastering process. The affects of these processes are on both of my websites.

Contact me for more specific biographical insights and information pertaining to bio - sonic color energy studies of 'Quantum Art' .

Quantum Quests

The re - mastering project I created has introduced me to new 'review mirror' quests. I now have a renewed interest in the mythological works of Joseph Campbell, especially 'The Return of the Hero' stories. Readings in the science of Quantum physics, biophysics, crystallography, and music history that all generate new insights into ways of examining the importance of the movement of energy forces, consciousness, and my total participation in the creative processes of my whole coherent biophysical nature. All my artworks are literally performed to musical sonic information from musicians from all over the world and all genres.

I often will structure the water used in my water based technological art materials to enhance its molecular properties and improve the alchemy of my mixed media acrylic polymer formulations and color applications. Sacred geometry, crystallography, and the application of meditative practice has elevated the use of consciousness in all levels of participation in the quantum art making process.

This approach to ordering creative energy through my water - being essence has been fluid, dynamic and trans-formative. It has opened new realms of artistic and self discovery that has made art making, play filled, and color energized. My nature adventures into new national parks, where I can research the energy of plants, water, and the geological order of these places has been equally significant. The studies of the synchronization of color and sound, and their relationship to water - color -sonic perspectives has added new values to their quantum coherent potential use in my paintings, sculpture, and works on paper. The 'flow factor' and transforming qualities of the watercolor and drawing mediums mediums into elevated realms of a sonic creative consciousness and intuitive recall is needed to sustain these discoveries into an entrainment with future studio creations. The captured on site aesthetic quantum activities are important to the maintenance of a harmonic balance in future artworks and their sonic musical color vibrations.

In order to map and navigate new artistic applications of materials, processes, and systems in painting, sculpture and works on paper, I introduced new language terms like 'collaging', to activate the imagination and the discovery of new processes. Recorded music sounds from the fields of Jazz, rock, and world music vibrate and instill into my bio-physical nature a greater sense of the global harmonic values and their coherent use in formulating a color consciousness that energizes the creative performance execution capabilities and flow of new acrylic polymer paint color chemistry applications. All musical sound vibrations excite the heart rhythms and the total aesthetic expression of being and aliveness, as well as an elevation of the meaning and purpose of a quantum aesthetic.

The 'Free Jazz' and 'Harmolodics' of Ornette Coleman is of importance due to its free form improvisational nature and its similarity to my use of color in all mediums, as well as the music I love by Sergio Mendez, Santana, Gato Barbiari, Jimmy Smith, and many others.

Watercolor field trips throughout the national park system of the southwest has been an unequaled inspirational force in the development of my 'Quantum Way' approach to art making.

My recent return to the mountains and canyon streams of Colorado and Rocky National park has again renewed through watercolor painting and drawing, nature's psychic importance in the development of a strong intuition. These field trips that involve hiking, recorded musical synchronization, and meditation are the foundation of all quantum way media quests.

Life of a Quantum Artist

Bio - Sonic Immersion in Nature the Quantum Way

DAVID W. McCULLOUGH -

For fifty years my 'Quantum' paintings, sculpture, and all works on paper have been concerned with capturing nature's light energy , color, and geological crystalline Geomancy. I have been using an audio visual approach to exploring Her mysterious complexities through field trips and studio work. My quantum art is multi - disciplinary.. It consists mainly of nature field research and originating creative innovative uses for all mediums in conjunction with studies of the disciplines of Chemistry, Mineralogy, Crystallography, Geology, Physics, Bio - physics, Mythology,, and Music, art, and poetry. I have also been practicing Transcendental meditation since 1969.

I have made watercolor field trips to National Parks throughout the Southwestern U.S.A., mostly in the ‘canyon circle’ area of the Four Corners area (Arizona, Utah, New Mexico and Colorado ), as well as parks in India and Australia, notating their seasonal color, rhythmical poetic spirit, textures, and geological rock formations. These journeys also brought me face to face on my hikes with Native American and Australian Aboriginal Cultural history in the form of petroglyhs and pictographic stories. These visual encounters have deeply enriched my painting application of materials and the poetics of my own story telling. The main objective of the field watercolor painting and musical collage interface with natural phenomena was to explore on site nature's colorful holistic psyche, resonate through a variety of musical sounds and emotions with its geomantic crystalline order, and sacred geometrical properties. The mineralogical properties of color pigment and their earth formed geometry has assisted me in ordering the entrainment process; along with quartz crystals. The mediums of watercolor, drawing, poetry, photography and music are the foundation stones of quantum studio compositions. I have used these nature insights to instill into my Taoist vision of art a special geometrically ordered sacred quality of coloration that best describes her spirit and holistic character. My comparative studies of the Earth's holistic psyche and its geological spirit in our ecosystem, as well as my painting experiences at Aboriginal rock painting sites in Australia and sacred Native American sites throughout the Southwestern outback, have energized my artistic pursuit of creative quantum ways of using the holistic earth energy rhythms, plant consciousness, the mineral kingdom, and all of nature's magnificent color processing systems in my artworks.

My ethnographic studies of the sacred nature and the cultural operating systems of the Native American and Aboriginal rock painting traditions, their Dreamtime stories, and rituals have been truly transformative. My sketchbooks are full of a collection of nature studies, poetry, and graphic depictions that are a constant reminder of my field experiences. These references are the quantum incentives that spark creative consciousness and have given an informed context and content to the multiple layered imagery, alchemy, and audiovisual color resonance of my sonic expressive abstractions. In addition, these artworks also generate many micro - macro cosmological insights.

I have always used water based art mediums to paint and express my 'water- being' human (we are 70% water consciousness) nature. I have always painted my watercolors on the ground at each nature site, to feel and generate from their holistic earth forces, beneath and around me, vibrating resonance fields of energy that when combined with the recorded musical information would generate new heart and hand rhythmical sensations that could enhance my quantum coherent participation in the expressive magic of watercolor painting and visual entrainment with the forms and processes of a nature site. The musical sounds and the instruments (many crafted from earth and animal materials) from cultures all over the world, especially American Jazz, created in me an intuitive ability to freely express spontaneously in accord with their passion and musical knowledge of rhythmical sequences and spacing, pure expressions of a harmonic balanced spirit filled synthesis of both .

These talented musicians and their instrumental sonic resonance have assisted me in feeling, expressing, and interpreting through my eyes, ears, and primarily the heart, nature's sacred colorful ordering systems, and its rhythmical lyrical psyche. These cultural and nature infused audio - visual insights are embedded with a cosmological significance and a soulful spirit energy. These color filled contemplative artworks from each nature site reflect the poetic sacred holistic vibrations from our Mother Earth and her divine geological and botanical micro/macro spirit world.

The aesthetic character of my journeys into the intuitive world of my inner 'sanctum sanctorum' is grounded in nature, sonic musical vibrations, and fifty years of knowledge of the 'physics of color energy'. I have woven into the poetic color cosmology, patterns of Geomantic order, a diverse contrast of cultural aesthetic sensibilities, that playfully generate throughout each artwork's color energy fields a spirit of lyrical harmonic optimism. I have cross referenced through this aesthetic 'play,' a transformation of knowledge from all the science disciplines into quantum coherent insights into how music, art, and poetry can interact and represent new dimensions of our creative potential, thus creating artworks that reorder and map out new states of consciousness for our viewing pleasure.

Art Mediums and Processes

Quanta:"Spectral Entrainment" A, MM, Ceramic Collage

As a multi - disciplinary 'Quantum' artist I use many different mediums to formulate the color chemistry and the physics of its optical nature and expressive qualities in my painting, sculpture, watercolor, collage, ceramics, and digital mixed mediums. The medium of music (Jazz, rock, and world) is always used to assist me exciting my quantum potential and soul spirit. The process of listening and acting in accord with various mediums is something I have always done to be totally integrated in the creative process. For me, this interaction with sound and color energy, is about the 'performance' of your true self- being in accord with a deep sense of respect for your intuition. The 'Quantum Way' is the creative processing of your true biological nature and its many levels of an intelligent flow of consciousness. The performance of this intelligence through music, art materials, in a poetic aesthetic manner must come from the heart first. The manner in which the material realm of the artworks speak has to resonate through the spirit of coloration and a depth of rhythmical sensibility for the graceful power of gestural expression of your intentions.

Each discipline calls for the creation of different materials, chemistry, processes, and techniques that allow for the maximum degree of participation of one's artistic abilities. I was also trained as a print-maker, so I have learned to use the commercial print resources in my community, as well as other industrial resources, to translate one medium to another and construct new combinations for new quantitative explorations of mediums that can evolve beyond academic boundaries and categorization. Probing for new uses to process color energy through music, art technology, and poetry in my quantum artworks is my main creative objective. Color synthesizing of new combinations of mediums through sound vibrations is the heart path my artworks are riding on. Like 'Free Jazz' my art relies on improvisation to inspire its aesthetic potential and soulful presence.

The Quantum Way

Introduction to Quantum Art Aesthetic mapping of creative consciousness: This is a personal aesthetic quest to find the meaning of spirit and soul in my art making processes and the basis of the creative consciousness that inhibits them. This search for an understanding of the intuitional basis of my art has led me to construct metaphorical relationships that have the ability to expand the dynamic qualities of creativity and widen the field of new discoveries. My aesthetic navigational need to travel back in time or the 'taking of the quantum leap ' backward allowed me to challenge many of the conceptions of how I had retained the conscious awareness I was born with and into through the lives of my parents, place of birth, and cultural heritage. By using the 'navigational' metaphor I could develop a 'mapping strategy' to discover what were the important effects of life connections I had inherited. This process of mapping became a way of using it to as a metaphor to explore the question, "what is the meta - for? in order to keep the big creative picture in focus. I took the mapping metaphor into play with my need to navigate the cultural avenues, influences, and aesthetic pathways and gave it a M.A.P. identity that its letters represented a cultural formula of M for music, A for art, and P for poetry. These three art forms became the beginning of my cultural navigation of creative consciousness. This triad was expanded to the research also of connections in other disciplines such as the science of epigenetic, biology, biophysics, physics, ecology, chemistry, sacred geometry and water research. The M.A.P. strategy and use of a wide range of insights from the sciences directed me to the people, places. and technology needed to further my search for new ways of processing creative intelligence. This knowledge is for creative individuals who would like to expand their horizons and trust their intuitional sense of awareness. each artist must map out and navigate their own strategy and processes of creative discovery. I was eventually led by these mapping methods after many years of exploring to the realization that the insights I came to embrace from them, nature and the teachings of physicists and biophysicists needed to be solidified into an aesthetic approach that had depth, fluidity, and one key element that would keep my search for the use of creative consciousness quantitatively coherent, water.