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

Quantum Way Art series sampler is an exploration of the power of the quantum coherent use of color, sonic geometry, and natural phenomena : This is a visual account of some of the prime examples of my fine artworks of different media combinations in each painting, mixed media, and works on paper series from !970 - 2018. 

These series are listed in chronological order; the first recent sample selections include the Gaia Poesis series that explores through 'collagaing', a term I coined to extend into verbal action the many materials, systems, and processes that 'Quantum Art' can enfold for artistic purposes, meaning, and spiritual awakening to new aesthetic potential; 'Return of the Hero', large scale sonic color fields with overlapping  lyrical tubular line forms; 'Gaia Sonic Entrainment', a tactile textural ceramic and mixed media 'collaging' experiences with colored tubular drawings in a crystallographic compositional formate; the 'Cosmological Cycle' acrylic, mixed media paintings from the 80's and 90's that reflect the watercolor - drawing- and sonic field work from travels to national parks throughout the southwest,USA, Australia, and India. They also include an extensive study of sacred geometry, physics of color optical properties, crystallography, geology, all musical formats, with an emphasis on all jazz musical approaches from Rock, World and all Jazz sounds. 

My field work  represents my natural phenomena interests, the sacred energy in the arts, rituals, and environments of native people throughout the world and the synchronization of these high conscious connections to my musical studies. 

Quantum Art is a way in which I have been able to expand the consciousness of all my life experiences and collage them together in various combinations with the use of  acrylic polymer chemistry, color, music, and the poetry embedded in my field watercolors, drawings, and photographs. All the mediums in these series are a combination of acrylic formulas, mixed mediums from art supply manufacturers, industrial architectural supplies, commercial printing processes, and ceramic suppliers. My 'Quantum Art' sonic expressions in all these media combinations represent years of color energy experiences in nature and in my studio environment in direct accord with musical medium listening experiences. My art is visual jazz.    

The 2000 acrylic, mixed media,digital collage, paintings and ceramic energy totems series are a Quantum Art  creative expression of 'Gaia Poesis' - a audio-visual sonic vibration exploration of a central iconography theme that through painting, digital printing, and  'collaging'. This approach is meant to expanded the visual experience of the artworks into a computational demonstration of  color energy, magnetic field synchronicity, 'sphericity' (my word) entrainment, music harmony,and produce a living poetry that  effectively changes our visual comprehension of the aesthetic consciousness of a painting experience. 

 Quantum consciousness is the exploration of our creative capabilities to express our total biophysical being, our quantum awareness of a vast range of possibilities that can increase our creative consciousness, especially our intuitive soul-spirit nature and its connections to all life forms on our planet and those in our local universe. Each use of a media consciousness and their many processes and systems allows us the opportunity to participate and expand our knowledge of what creativity expression can be and how it can communicate our heart felt emotions through the energy of color vibrations to other people. 

Each new combination of the 'collaging' concept presents us with the challenge of re-mastering our aesthetic journey in a more holistic, harmonic, and meaningful way. 

Icons have been interpreted by many to represent ideological concerns of some of our most cherished institutions but they have not often enough been placed in a broader cosmological aesthetic context in painting where they can be re-evaluated as a universal spirit form, whose content can be seen as a force of a greater magnitude and a 'Gaia' Poetic' entrainment harmonizer.  

The 'Return of the Hero' series  was initially begun in 1971 to honor the literary writings of Joseph Campbell's Mythology works, Carl Jung's psychological explorations into 'Man and his Symbols', and the design and mathematical exploits of Buckminister Fuller. This triad of great teachers was the structural inspiration for the dynamic scale, coloration, and geometrical introduction into the what I call, the "physics of knowing" and the journey down the inner rabbit hole of intuitive learning concerning the synthesis of color and sound energies. 

This series was intentionally made in an architectural scale for use in large spaces. The geometrical use of a hyper-cube space was a reference from studies in Mineralogy related to the mathematics of crystals. I decided to make up a practical spatial matrix that I called a , "Crystallogram". This geometrical structural approach was the lineal spatial dimension configured for the figuaral represenative of the 'Hero' from the each Campbell myth interpretation. It was overlaid onto the mopped on planar field of colors, which were supposed to symbolically represent the psychological conflicts of the hero figure in his unconscious field of transformation. Each myth had its own hero journey and cultural context, which allowed me to interpret each story within a new context to the geometry -field conflict in each painting. The colored planar contrasts were derived from my travels in nature and worked out with watercolor and oil pastel on paper. Each series that is presented on this site has been developed in the same manner. As the painting series evolved the geometry of the  "crystallogram" changed the audiovisual compositions of the paintings.  

In the mid-1970's, a "stereogram" drawing was invented for practical purposes for the application of textural mediums on the flat horizontal surface of a sculptural low wall relief and the placement of drawn symbols. It allowed me to navigate the low relief surface and locate the under painted geometric shapes and uncover them. Once these painted geometric shapes became connected to the surface tecture composition then the symbolic drawing could be drawn directly into this medium. After these two procedures were done then acrylic tubular line drawings were made into the textured surface that were sighted from those previously drawn into the charcoal 'drawing-stereogram'. Jazz, rock, and world music were collaged in sequence to assist in the wet to wet surface performance of mediums. This process also was used on the surfaces of the 3D sculptures.

In 1980 - 90's the Mysterious Traveler Cosmological Cycle series explored the geometry - music - performance synthesis in a crystallographic spatial matrix with multitude of color formulas that were  derived from my watercolor field trips to the 'four corners' western states. Each visit to the U.S. outback has inspired a new use for the synthesis of mathematics, color chemistry, and the magic of music in my abstract art compositions.