The main reason for developing a 'Quantum Art' agenda for a multi - media approach to art making is to find alternative ways of using my biophysical 'water-being (we are all made of 70% water), mental, soul-spirit, and heart potential in all aspects of my quantum coherent being, to evolve my creative consciousness,and develop a flow of new possibilities of creating artworks. This quantum coherent flow of creativity then can be used to ultimately 'remaster' my many years of art making and transform my creative history into new qualified and quantified uses of my 'Quantum Way' in obtaining a more intelligent, educated, holistic, and emotional ways of making meaningful new art works. Each exploration into new aesthetic discoveries the 'Quantum Way' unlocks a world of new opportunities to use creative intelligence on all levels of being to communicate through art and technology, music, poetry and nature a full cosmological cycle of newly imagined creations. By mapping a collective flow of our quantum potential,through painting, sculpture, and poetic works on paper we can navigate important aspects of creative consciousness to unfolded our total being into a better understanding of natural phenomena; all forms of material technologies; scientific knowledge in the fields of biology and biophysics; quantum physics, water research; and all the science disciplines. This 'quantum water being' cycling of our creative potential becomes a healthy enjoyable foundation for an intelligent and spiritual participation in a "Gaia Poesis".
I was educated to art, music, poetry, science and technology in New England (Springfield and Boston) in the 1960's.
As an active duty U.S. Navy Corpsman during Vietnam War conflict from 1966 -68, I was exposed to the effects of war and was able to use my medical knowledge to service my orthopedic patients and help them with their healing.
During this period of military service in Boston, I also maintained an art studio off base where i successfully continued to paint, sculpt, draw , and exhibit.
In 1968 - 70, I studied painting and printmaking (also at the U. of Michigan) at the Kansas City Art Institute. After graduation, I worked that summer helping an Ohio sculptor build an organic concrete home near Lake Erie. Then I spent a brief semester at the newly formed Cal Arts in Burbank, CA.before deciding to begin my professional studio career in Dallas,Texas.
As a multi - disciplinarian painter - sculptor, installation, and audio-video performance artist, I have exhibited in over 70 one - person showings nationally and internationally in art galleries, art centers, and museums. I have completed Artist in Residency 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.
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 the re - mastering of all my art making processes, materials, technology, and influences in music, art, and poetry. I am also writing a book on Quantum Art and the re - mastering process.
Contact me for more specific biographical insights and aesthetic pursuits of a 'Quantum Art' aesthetic
Re - mastering my body of art works has taken me on new and past 'review mirror' quests. I 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 all generate ways of examining the importance of the movement of energy forces, consciousness, and my participation in the creative activities I perform the 'Quantum Way'.
The element of water now plays a major role in the chemical restructuring of the alchemy of my mixed media acrylic polymer technology and color applications. Sacred geometry, crystallography, and consciousness have transformed and helped order significantly the composition synchronization of color and sound, the execution of quantum coherent potential, and its 'flow factor' that is very important in carrying conscious and intuitive intentions needed to sustain all media entrainment activities in harmony with the sonic musical vibrations.
In order to map and navigate new artistic applications of materials, processes, and systems in painting, sculpture and works on paper, I have been collecting and 'collaging' recorded music sounds from the fields of Jazz, rock, and world music that can vibrate and instill in my bio-physical nature a greater significance and coherent consciousness which in turn can enhance my creative performance capabilities in the execution of new acrylic polymer paint color chemistry applications; all of which elevatethe 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 of Colorado and Rocky National park has again renewed through watercolor painting and drawing, nature's psychic importance in the development of a strong intuitive. These field trips that involve hiking, recorded musical synchronization, and meditation are the foundation of all quantum way media quests.
Quantum Way Art series sampler : This is a visual account of some of the prime examples of 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 Big Band to Free 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 1989 I took a watercolor - drawing - photography -sonic field trip to Australia's Northern Territory, Kakadu National Park to paint, study their geological sites, and most of all view the Aboriginal rock paintings. This life altering experience and discussions with women Aboriginal artists about their 'Dreamtime' nature relationship opened up new aesthetic challenges in regard to my watercolor crystallographic field work at U.S. national parks in the southwest, studies of pictographs of the Native American cultural past at sacred sites. My return to Melbourne, Australia in 1991 with my whole family, as an artist in residence at Prahran art school gave me a chance to examine my multi-cultural Eastern art aesthetic interests, remaster my paintings and works on paper to set goals for new crystallographic approaches to all mediums, especially the watercolor and collage works on paper and their audiovisual synthesis. Starting in 1992 my Dallas studio paintings were transformed into multi-panel large scale acrylic, mm, works that reflected my Aboriginal cultural experiences. I then began to develop an overall textural crystallographic multi-dimensional colored surface. These geological surface transformations continued throughout the 90's art works and their layered, multi-dimensional optical and quantum perspective of multiple perspectives became more dynamic as the musical audio-collaging matured.
The recorded musical 'collaging' connected me in new psychic ways to the nature sites and energized both the field work and studio execution. The Dallas studio paintings were all coordinated by jazz, soul, and world music sounds that were very percussion, horn, and native instruments that would force me to perform them differently each time, wet to wet within the drying time of the acrylic formulas, along with the addition of, different tools, paint material formulas, and dynamic range of acrylic and metallic colors.
Since 2015, the newly titled. "Gaia Sonic Entrainment series" has maintained an art making performance consciousness directed by audio-collaging, under painted multiple layers of images, additional mixed media smaller ceramic paintings, crystallographic geometry including spheres, acrylic textures, colorful tubular line drawings from my field trip sketchbooks.
Quanta:"Spectral Grace" A,MM, Ceramic, Wood 24" x 72" x 4"
DAVID W. MCCULLOUGH - For the past forty eight years my paintings, sculpture, and works on paper have been concerned with describing the phenomenon of light in nature from an audio - visual perspective. I have hiked and created art in National Parks throughout the U.S.A., especially the Southwest ‘canyon circle’ area of the Four Corners area (Arizona, Utah, New Mexico and Colorado )parks notating their seasonal color changes and geological formations. I have used these field trips in the National Park system to explore and notate nature's colorful holistic psyche and geological spirit through the mediums of watercolor, drawing, and photography. These notations are the foundation stones of all my abstract studio compositions. I have used these nature insights to instill into my Taoist vision of art a special quality of coloration that best describes her spirit and sacred character. I have made many comparative studies of the Earth's holistic psyche and its geological spirit in our ecosystem, as well as rock painting sites. for example, the Australian Northern Territory outback, where I made watercolors, drawings, and photographs at sacred Aboriginal sites in Kakadu National Park in the Arnhem land with my field notations from Southwest U.S.A. national parks in the 'Four Corners' region, where I recorded the holistic earth energy rhythms at Native American sacred sites. My ethnographic studies of the sacred nature of the Native American and Aboriginal traditions and their stories, as well as their pictographic rock art depictions have informed the imagery and chemistry of my abstractions in many ways. I always paint on the ground at each site directly to music from cultures all over the world, especially American Jazz. My fellow musicians have assisted me in feeling, expressing, and interpreting through the watercolor medium nature's sacred colorful ordering systems in a sonic lyrical manner. These influential audio - visual insights have infused all my studio art works with a cosmological significance and special color filled sonic energy. All my studio art works reflect the poetic recordings of these sacred locations and their geological and botanical micro/macro spirit world. The poetic nature of these feelings, aesthetic character of the field art works, and musical insights are all woven into the patterns, geomantic order, and compositions of all my art works in every combination of mediums. I have cross referenced knowledge from mythology, the earth sciences (mineralogy, crystallography, and sacred geometry), quantum physics and bio - physics with music, art, and poetry sources in order to map out new states of consciousness I can use to process new alchemical color medium systems. These science and nature insights have empowered my art works with a dynamic visual - sonic presence My most recent painting adventure was in Northern India, Rishikesh and their Northern Himalayan mountain ranges, where I recorded the Hindu cultural operating system and experienced their 'Diwalli Festival of Light'.
As a multi - disciplinary 'Quantum' artist I use many different mediums to formulate the chemistry and physics of the optical nature of my art works in painting, sculpture, watercolor, collage, ceramics, and digital mixed media. Music (Jazz, rock, and world) is utilized to assist me in all the various processing of art materials. Each discipline calls for the creation of different materials and techniques. Also trained as a print-maker, I use the commercial print resources in my community to translate one medium to another and construct new combinations and media explorations. Color is the main ingredient that synthesizes through music the application of various combinations. Like 'Free Jazz' my art relies on improvisation to inspire its aesthetic potential and soulful presence.
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.
Quanta:"Take Five" A, MM, Ceramic, C 48" x 48" 3"
Quanta:"Post Modernist Mardyrdom" Digital Media, A, Vinyl Collage, C 86" x 13' x 4"
Quanta:"Quantum Poetry" A, MM, C 96" x 72"
Quanta:"Listen Up" A, MM, C 40" x 51"
Quanta:"Natural Grace" Ceramic 15" Dia.
Quanta:"Saint Andrews Jump" A, MM, C 40" x 54"
Quanta:"Solstice" A, MM, C 72" x 48"
Quanta:"Jazzy Cactus Vibrations" A, MM, Collage 30" x 22"
Quanta:"Mwuetsi, the Moon man, cut loose" A, MM, Canvas 72" x 144"
May 17, 2018 - Dallas St. Matthew Episcopal Cathedral Art Gallery Retrospective - all mediums Opening reception 6 - 8 pm, Ross Ave
Spring 2018 - DM Art Studio Exhibit of new paintings, sculpture, collage, watercolor, and ceramic mixed mediums
1914 Moser Ave, Dallas, Texas 75206, United States