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. The sound/color fusion of nature, recorded music, and the colorful watercolor rhythmical vibrations will be infused in all the new 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 integrating it into new visual dimensions. Music from around the world, especially Africa will provide the rhythmical drumming sequences and harmonic instrumentation needed to activate the applications of color in 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 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".  

I was educated and taught by my family to appreciate art, music, poetry, science and technology in New England (Springfield and Boston) from 1945 - 1968.

I studied art and technology at Springfield Tech H. S. - Fine art in Boston from 1963 - 65 before being activated into active duty in the U.S. Navy. Stationed as a Navy Corpsman during Vietnam War conflict from 1966 -68.  I worked as an orthopedic nurse and technician, but still found time off duty to create in my Boston studio and translate those experiences into paintings, sculpture, and drawings.

In 1968 - 70, I received a B.F.A. in painting and printmaking (also summer programs at the  Aspen School of Contemporary Art '68 and U. of Michigan - printmaking/painting/ art history ) at the Kansas City Art Institute.

 In 1970, I worked doing labor and welding all summer with Ohio sculptor, Wayne Trapp 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 ;also, Paul Brauch before deciding to leave and begin my professional studio career as an interdisciplinary artist 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.

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.

 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 and in 1991 I was artist in residence at the Phrahan Art School in Melbourne, Australia in their painting dept. along with my entire family; as well as, a multi - media lecturer 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 2005, I returned to college and received a M.F.A. degree in 2007 in Art and Technology from UT at Dallas. The main focus was in the research of 'Quantum Art', bio - sonic music applications, multi - media color energy combinations, and continued field studies of natural phenomena - water. New print technology and digital uses of my watercolors were combined in acrylic paintings to produce a Gaia Iconographic 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 central importance to ecological - tech issues, they were also bounded by ceramic totemic paintings that conveyed a sense of quantum color potential that was echoed on the canvases. These large scale artworks promoted  cosmological dimensions of color energy consciousness.  

Sense then many commercial processes and industrial materials have been used in combination with my ceramic painting units. Ceramic totem paintings were also made as quantum art expressions  to enlarge the scope of 'quantum potential' in painting and sculpture.

These artworks were exhibited along with large watercolors in a special Dallas large scale exhibit at the McKinney Avenue Contemporary Art Center in 2007. 

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. 

In 2016 I received my second masters degree from the U of Texas at Dallas, a  M.A. in Aesthetic Studies.

Since then I have been creating new quantum artworks in all media combinations, as well as  re - mastering 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 studies of 'Quantum Art'. I 

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.