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 managing creative possibilities I can use the quantum energy fields that surround my being and biophysical 'wate
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 managing creative possibilities I can use the quantum energy fields that surround my being and biophysical 'water-being ' (we are all made of 70% water) to increase my conscious use of my body's 'quantum coherence.' This has increased my hand-heart coordination of multiple color mediums to improve their optical sync with audio related musical instrumentation from other cultural operating systems. Thus my quantum aesthetic is a 'cybernetic' approach to a more coherent creative consciousness. Insights from many science disciplines, especially quantum physics have been adapted and used to manage a coherent flow of Q -Way learning experiences which arise from directly from making the creative processes. These new challenges formed from a quantum leap into dynamic interactions with the combining of color/ sound formulated processes. These new bio - sonic insights learned from quantum aesthetic artwork experiences have dissolved into a new language that has transcended any past and transformed any learned academic boundaries,
This 'Q -Way' bio - sonic flow of newly created information can now be used along with past works on paper data and newly discovered musical cultures to 'remaster' many years of creating. These insights have become quantum visual metaphors that can transform methods into a new recorded quantum artworks. These new quantum re-enforced principles now operate from an intuitive heart - centered connection to my water- being and all the intelligent forces that are coordinated through them.
This new qualified and quantified 'Quantum Way' aesthetic has energized all my creative processes and revived my intellectual, holistic, and emotional way of making meaningful new art works. Each medium and emotional exploration into new aesthetic discoveries the 'Quantum Way' have unlocked more creative DNA informational resources. Each medium combination of multiple systems of color / sound energy has opened up a world of new opportunities for the bio - sonic use of a new quantum audio visual vibration frequencies, color, music, and poetry. All are now used to map and navigate a synthesis of new discoveries. These insights have enlivened my consciousness and ability to communicate through art both analog and digital technology.
Information from natural phenomena, the mineral kingdom, and plants has contributed to a collection of watercolor field experiences throughout the southwestern national parks, Australia, and India that have helped to synthesize relationships to a full range of generated hydrological /cosmological cycles that have assisted in the re - mastering process of newly imagined re -creations.
By mapping a collective flow of new resources I have expanded the coherent quantum potential of new thought forms to support the language of my quantum aesthetic. The sound/color fusion of nature, recorded musical instrumentation, colorful watercolor rhythmical field works, and new studio color chemistry formulations /processes/ tools have become integrated into all my current series.
These series will be framed in a new 'Quantum Aesthetic' language that promotes processes, materials, and methods, such as the concept of "Collaging" and the 'bio - sonic' integration of a world music perspective. Music from around the world, especially Africa and its desert countries have provided the rhythmical drumming and inspirational harmonic electric guitar instrumentation full of the sound energy frequencies needed to generate and resonate with new color energy formulations and applications.
My painting, sculpture, and poetic works on paper can now profit from every infusion of the energy of love and creative intelligence obtained from a world audio visual perspective and from those people, animals ,and plants that form my Gaia family.
I learned to appreciate art, music, poetry, science and technology while living in New England (Springfield and Boston,MA. ) from 1945 - 1968.
I studied art and technology at Springfield Tech H. S. - Fine and Practical arts in Boston from 1963 - 65. In 1966 - 68. I was self taught while practicing painting, drawing, and sculpture during m
I learned to appreciate art, music, poetry, science and technology while living in New England (Springfield and Boston,MA. ) from 1945 - 1968.
I studied art and technology at Springfield Tech H. S. - Fine and Practical arts in Boston from 1963 - 65. In 1966 - 68. I was self taught while practicing painting, drawing, and sculpture during my Naval active duty service time in Boston. When I was off duty at Chelsea Naval Hospital near Boston as an active duty Navy Corpsman treating Vietnam War patients in the Orthopedics dept. I worked in my apartment to music recordings. In this small Boston studio I translated my hospital experiences treating fellow soldiers' into paintings, sculpture, and drawings. In 1967 I participated in an Alan Kaprow, ' Happening' at the Boston Contemporary. Also exhibited paintings and mixed media artworks at the Pluribus Gallery on Newbury Street with two other painter friends.
In 1968 - 70 I studied painting and printmaking and received a B.F.A. with honors at the Kansas City Art Institute as well as summer programs in painting/drawing/film making at the Aspen School of Contemporary Art '68 and U. of Michigan printmaking/painting/ art history 69'.
I personally witnessed the contemporary music scene in 1969/70 at the Ann Arbor Blues and later their Blues and Jazz Festival. Also the Woodstock Festival in N.Y.. In the summer of 1970 I worked as a laborer, welder, sculptor all summer near Painesville, Ohio with Ohio sculptor, Wayne Trapp and crew building an organic concrete house and in addition to it, my first concrete sculpture.
After that project I traveled to Mexico City to see the new Anthropological Museum and on to Burbank, CA. in the early Fall to study in the master of arts program at Cal Arts in Burbank, CA.. I spent the first part of the semester video documenting a 'Happening" of Allan Kaprow, developed performances with Fluxus artist, Dick Higgins and audited classes. At that time I consulted with NY painter,Paul Brauch on a career in painting, who advised me to leave the program and pursue a professional studio career as an interdisciplinary artist.
I eventually located a studio in Dallas,Texas. Since 1970, I have been a creating full -time as a professional multi - disciplinarian paintings - sculptures, ritual mixed media installations, and audio (electronic music) -video performance installations. I designed my career based on the use of music, art, and poetry utilizing mixed media works on paper series to investigate, map, and navigate new concepts. Since 1970 I have used the Dallas library system/books to research my video projects, photography, music, and the sciences to learn how to invent new mediums, their color chemistry, as well as a sciences of quantum physics, mineralogy/ crystallography, and mathematics to develop a bio - sonic approach to all art disciplines. The triad of scholarship of Joseph Campbell, Carl Jung, and Buckminster Fuller were my aesthetic foundational mentors. Ritual,Transcendental Meditation, and a Vegan diet were very important in formulating a unique bio - sonic performance activity to execute the water based mediums/artworks to music.
I was the last Texas artist to receive first prize in painting at the Dallas Museum of Art biennial in 1972. My electronic music and video performance/ painting rituals in rural and urban spaces in Dallas began in 1970 in Austin.
Throughout the 1970's I performed painting rituals with artists from many disciplines, including Dallas musicians and my electronic music compositions. These video electronic music documentaries were presented in art media conferences/lectures throughout the Midwest and on the West Coast, as well as my large loft space as 'Video Theater' presentations for large audiences. These art media activities were the collective conscious aspect of all my other interdisciplinary projects in painting and sculpture during the 70's. My large scale paintings and sculptures were exhibited in Texas at most art centers and some museums. In 1972, I was selected for the first South by Southwest exhibit at the Fort Worth Art Museum by director, Henry Hopkins and was awarded the first prize in painting at the DMA biennial exhibit by N.Y. painter-juror, Ray Parker.
In 1976 I taught painting and performance art in the summer at the Santa Fe Contemporary Summer Art School and in that Fall was artist in residence in music and performance art at Western Washington State University in Bellingham, Washington.
As in 1970's through to the 2000's, I have utilized the bio - sonic color energy method I developed to perform and incorporate all mediums into the act of creating paintings, sculptures, and works on paper in all mediums.
In the early 80's I added optical elements and sand to my paintings and eventually those surfaces became more committed to a crystallographic relationship to my field watercolors and music studies made in national parks throughout the U.S..which were used to direct the painting and sculpture performance rituals created in my Dallas studio.
In 1989 I made a life changing watercolor field trip to paint and study the Aboriginal culture - rock art paintings and landscape 'Dreamtime' in the Australian outback in Kakadu National Park in the Northern Territory. In 1991, I returned with my whole family as an artist in residence in painting at the Prahan Art School in Melbourne, Australia. I also gave multi - media lectures at art schools throughout the state of Victoria.
I have exhibited in over 75 one - person/group exhibitions in galleries, art centers, and museums nationally and a international art gallery in Osnabruck, Germany. I have exhibited and completed Artist in Residency painting and research programs in 1991 -Melbourne, Australia, 1998 -Osnabruck, Germany, and 2009 -Rishikesh, India.
My artworks in all mediums have been collected nationally by major corporations, public collections, museums and by private collectors.
In 1995 I was the first Texas Artist to receive an Adolph Gottlieb award for twenty years of excellence in painting for mature artists, as well as the Moss Chumley award in painting from the Southern Methodist U., Meadows Art Museum.
In 2000, I began to merge my analog practices with digital technology to formulate a new medium, I call, "Collaging" that utilizes commercial printing processes, industrial materials and processes, with photography, painting, computer graphic design , and music. This led to a new mixed media series and a return to new research in Art and Technology at the U of Texas at Dallas where I received a M.F.A and later a M.A. in Aesthetic Studies.
This research informed my aesthetic interests in the science of Quantum Physics and its application to art, music ,and poetry.
'Quantum Art' and bio - sonic music applications, multi - media color energy combinations, and continued field watercolor/music studies of natural phenomena /water has opened up the creation of new material usage, tools, and print technology. Digital uses of my watercolor field and studio improvisations works on paper series were used to compose acrylic paintings that produced the Gaia Iconographic ecological mixed media poetry series.
"Collaging"poetics and a central totemic iconic configuration emphasis gave significant importance to their ecological - tech meaning. Ceramic totemic paintings were added along the sides to convey a quantum presence of color's conscious potential in the art making process. These large scale artworks were exhibited in a large one - person at the McKinney Avenue Contemporary art center in Dallas and Kansas City Leedy Voulkos art center in 2007. These exhibits promoted a conscious awareness of color energy in Quantum Art.
Sense then many commercial processes, acrylic industrial materials, and the ceramic medium have been explored in my paintings and sculptural 'Quantum Artworks' along with the bio - sonic use of music from musicians who play a wide range of sounding instrumentation that export their cultural surroundings in their country of origine.
In 2013 I exhibited the ceramic perspective with one central digital acrylic canvas in an exhibit I curated, "Six North Texas Abstract Artists" which explored the visual concerns of their abstract use a variety of mediums representing six different aesthetic perspectives. Since then I have been re - mastering all the aesthetic information from past series in my inventory. These explorations and rediscover processes have produced a new quantum bio - sonic way of applying and transcribing colored art materials, technology, with bio - sonic influences from other world musicians and poets.
I am also writing a book on 'Quantum Art and the Bio - Sonic processing of color energy in all mediums.
Contact me for more specific biographical insights and information pertaining to bio - sonic color energy creativity
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
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.
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 a variety of 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 crystalline spirit in our ecosystem, as well as my painting experiences at Aboriginal rock painting sites in Australia in Kakadu National park and sacred Native American sites throughout the Southwestern Canyon Circle in the Utah 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. The watercolor 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, bio - sonic musical vibration resonance, and fifty years of knowledge of the 'physics of color energy'. I have woven into my poetic color cosmology, patterns from sonic geometric order, a diverse contrast of cultural aesthetic sensibilities from music, art, and poetry that playfully generate throughout each artwork's color energy fields a spirit filled lyrical harmonic multi-dimensional presence. 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 frequencies can interact and represent new quantum aesthetic dimensions , thus creating 'Quantum Artworks' that reorder and map out new states of creative consciousness for our viewing.
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 in rhythmically vibrating with my coherent quantum potential and soul spirit. The process of listening and acting in accord with water based acrylic mediums is a dance of bio -sonic fusion that I have learned from fifty years of practice. Play is the integrative factor that harmonizes the entire creative process. The interaction with sound and color energy, is about the 'performance' of your true heart full self 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 coherent flow of creative consciousness. The performance of this intelligence through music, art materials, in a poetic aesthetic manner must come from the heart first. The holistic manner in which the material realm of the artworks speak has to resonate through the spirit of coloration, the music vibrations and a deep empathy for an emotional sharing of a rhythmical sensibility for the graceful power of gestural expression of your intentions.
Each discipline calls for the creation of different materials, musical instrumentation, color chemistry, multiple technological processes, and water based techniques that allow for the maximum degree of 'flow' in the execution 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 into another and create new processes that will generate new quantitative discoveries. Probing for new uses to process color energy through music, water based acrylic polymer chemistry, nature and all its poetic manifestations inspire my quantum research in art making.
The color synthesizing of new combinations of mediums through nature and musical sound vibrations have increased my hand - heart -soul path understanding of being a "quantum artist."
Like 'Free Jazz' my art relies on improvisation to inspire its quantum aesthetic potential and color filled energized spirit.
An introduction to the 'Quantum Way' of mapping and navigating the use of creative consciousness:
This search for bio - sonic relationships of music and color started with my first watercolor field trips to a variety of national parks to study rhythmical progressions,time intervals, and other Modern Jazz musical approaches to painting in the outback away from my city studio. For each field trip I would program a series of audio collages on tape that were mix of Jazz, Rock, and World music compositions that would challenge my visual experiences and use of color. This personal aesthetic quest to find meaningful connections between the spirits of musicians, other countries, cultures, musical expression, color in natural phenomena and the bio - sonic processing of spirit and soul in more relative coherent processing of creative consciousness in all art making forms of expression. These new discoveries and many field trips encouraged me to take the 'Quantum Leap' into a more instinctual path of research into the use of water, acrylic polymer chemistry, music and Quantum Physics, as well as metaphorical relationships that could expand the dynamic qualities of language and the invention of new forms of processing creativity. By 'taking of the quantum leap' forward I could then challenge many of the conceptions of how to process the use of analog and digital technologies.
I had now regained the conscious awareness I was born with thanks to lessons learned from my parents, By using the 'navigational' metaphor I developed a 'mapping strategy' to discover what were the important effects of the life connections I had inherited, as well as a musical and poetic intuition. 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 viewed the mapping metaphor as a form of 'play' that was needed to navigate the cultural avenues, art historical influences, and a new quantum aesthetic pathway, which I named; M.A.P. and identified its letters as a cultural formula of M for music, A for art, and P for poetry.
These three art meta -forms became the beginning of my cultural navigation of creative consciousness and bio - sonic explorations in all mediums. This triad was expanded to include research in other science disciplines as Epigenetics, biology, biophysics, physics, ecology, chemistry, sacred geometry and water research.
The M.A.P. strategy and use of a wide range of insights from all the sciences directed me to the people, places. and technology needed to further my search for new ways of processing my true loves - color energy, sound/music and creative intelligence. A quantum leap forward could benefit all creative individuals who would like to expand their horizons and build a trust in their intuition and personal sense of awareness. Each artist could map out and navigate their own aesthetic strategies, creative potential and artistic processes.
After years of using various mapping methods and mediums. I realized that the quantum insights I navigated from mapping, nature field trips and the teachings of physicists biophysicists, and musicians needed to be heart fully designated and realized in name as a 'Quantum Bio - Sonic Colorist Energy' aesthetic. Once that realization became an integrated totally into my studio quantum world of creative expression, then all my bio - sonic immersion experiences with all disciplines became insightful quantum learning experiences. Now this dynamic new coherent 'quantum art' flow is the basis of all my bio - sonic creations.
May 17, 2018 - Dallas St. Matthew Episcopal Cathedral Art Gallery Retrospective - all mediums Opening reception 6 - 8 pm, Ross Ave
Fall 2018 - DM Art Studio Exhibit of new paintings, sculpture, collage, watercolor, and ceramic mixed mediums
Fall 2018 - Private Dallas Art Dealer, Marie Park sales of Australian Outback Improvisation Series - Watercolors
1914 Moser Ave, Dallas, Texas 75206, United States
Quantum Art today will reflect my concerns in all mediums for the energy of color and sound frequencies as they effect the content, context, and presence as a creator. The bio - sonic realizations that I will comment on are the outcomes of many years of practical use of many acrylic polymer experiments, applications, and formulas that have expressed my concerns for the optical essence of light -color and their interaction with sound elements, essentially music research that has a Jazz improvisat