1914 Moser Ave, Dallas, Texas 75206, United States
"I create to play with my intuition and hand/heart energy exchanges"
Welcome to my artistic journey into the 'bio - sonic' realms of a quantum coherent aesthetic of color energy.
David McCullough's Quantum Way Aesthetic
The Quantum Way
Career Information
Career Information
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 field that surrounds my being and biophysical 'water-being
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 field that surrounds 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 chemistry in sync with audio visual related musical instrumentation input. In this respect I have adapted into my quantum coherent aesthetic a 'cybernetic' approach to my creative explorations of consciousness. Insights from many science disciplines have been adapted and used to manage a coherent flow of Q -Way learning experiences that arise from making the artworks. These new challenges are uniquely formed from the dynamic interaction of new insights created while combining processes. These new possibilities for the creation of artworks have dissolved and transformed any learned academic boundaries and art speak- dogmatic principles acquired from my past experiences.
The 'Q -Way' flow of all created information is then used to ultimately 'remaster' many years of art making and transform relative concepts, visual metaphors, and methods into a new recorded quantum art aesthetic. 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 it.
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 exploration into new aesthetic discoveries the 'Quantum Way' unlocks my curiosity about a world of new opportunities and the bio - sonic use of audio visual vibration frequencies, color, music, and poetry that I now use 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 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. The sound/color fusion of nature, recorded music 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 will provide the rhythmical drumming sequences and harmonic instrumentation of sound frequencies needed to generate new energy into the applications of color on a grand scale.
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.
Career Information
Career Information
Career Information
I was 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 ; 1966 - 68 I continued to practice painting and sculpture when I was off duty at Chels
I was 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 ; 1966 - 68 I continued to practice painting and sculpture when I was off duty at Chelsea Naval Hospital near Boston as an active duty Navy Corpsman treating Vietnam War patients in Orthopedics dept.. In my small Boston studio I translated those medical experiences into paintings, sculpture, and drawings. Participated in an Alan Kaprow, ' Happening' in 1967 and also exhibited paintings and mixed media artworks in my first group art gallery show.
Studied and received a B.F.A. with honors in painting and printmaking at the Kansas City Art Institute 1968 - 70 ( summer program in painting/drawing/filmmaking at the Aspen School of Contemporary Art '68 and U. of Michigan printmaking/painting/ art history 69'.
Personally witnessed the contemporary music scene at the Woodstock Festival in N.Y.. Worked as a laborer, welder, sculptor all summer with Ohio sculptor, Wayne Trapp and crew building an organic concrete house -sculpture near Lake Erie. Traveled to Mexico City to see the new Anthropological Museum and then to Burbank, CA. in early Fall to study in the master of arts program at Cal Arts. I spent the first part of the semester video documenting a 'Happening" of Allan Kaprow and worked on performances with Fluxus artist, Dick Higgins ;audited classes and consulted with 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 practicing full -time professional multi - disciplinarian painter - sculptor, installation, and audio (electronic music) -video performance installation artist. Designed my career based on the use of music, art, and poetry and each media approach with a works on paper series.Since 1970 I have used books, video, photography, and music to educate myself to the use of all mediums, their color chemistry, all the sciences,ritual, and meditation to inform the bio - sonic performance of artworks to music. I was the last Texas artist to receive first prize in painting at the Dallas Museum of Art biennial in 1972. Began my studies of electronic music and performance painting rituals in rural and urban spaces in Dallas.
Throughout the 70's I performed painting rituals,video/electronic music presentations, and worked on studio projects in all mediums, especially painting and sculpture. My artworks 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 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 was artist in residence in music and art at the Western Washington State University in Bellingham, Washington.
I worked on electronic music - video performance installations and collective art ritual performances at nearby Texas sites and staged video studio events from 1970 - 1982 and in Kansas City and Vancouver, Canada.
As in 1973 - today ,Large bio - sonic colored sand drawings on geometrical sculptural units including embedded ceramic paintings are dedicated to musicians worldwide, as well as mixed media sand painted wall reliefs. 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 as a performance ritual. I traveled extensively to national parks in the southwest painting watercolors, making sketchbook drawings, writing poetry - always to audio taped recorded music I programmed to challenge the visual experiences.
In 1989 I made a watercolor field trip to paint and study the Aboriginal culture 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 exhibitions in galleries, art centers, and museums nationally and a international art gallery in Germany. I have exhibited and 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 2000 - I began to merge my analog practices with digital technology that allowed me to return to my printmaking roots. This led to 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 launched 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 studies of natural phenomena - water; opened up the creation of new material usage, tools, and print technology. Digital uses of my watercolors were interfaced with my acrylic paintings to produce a Gaia Iconographic ecological mixed media poetry series. Digital photographic images were used in a new process I named, "Collaging" to create a central totemic iconic configuration that gave significant importance to ecological - tech issues. 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 and industrial materials have been explored in my paintings and sculptural 'Quantum Artworks' along with the bio - sonic use of music from around the world to process them.
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 opened up new quantum bio - sonic ways of applying art materials, technology, and bio - sonic influences from music to poetic means in my painting, sculpture, ceramics, and works on paper. I am also writing a book on 'Quantum Art and Bio - Sonic processes in 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
Quantum Quests
Career Information
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
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 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.
Art Mediums and Processes
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.
The Quantum Way
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 natureal 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 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, and metaphorical relationships that could have the ability to expand the dynamic qualities language in inventing 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 retained the conscious awareness I was born with and into through the lives of my parents, By using the 'navigational' metaphor I could develop a 'mapping strategy' to discover what were the important effects of life connections I had inherited., as well as music and a 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 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 and creative intelligence. This knowledge is for creative individuals who would like to expand their horizons and trust their intuition and personal 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,a dynamic 'flow', and the key element of all; water and all its consciousness.w