Gaia Entrainment series Gallery Quanta:"Celtic Light Lover" A, MM, Ceramic, Wood 48" x 72" x 4"
Quanta:"Quantum Poetry" A, MM, C 96" x 72"
Quanta:"Concierto Blues" A, MM, Collage, Ceramic, Canvas - Wood 24" x 72" x 4"
Quanta:" Remote Viewer" A, MM, FG Cement, Ceramic -Cement - Granite Base 10' x 4' x 2 '
Quanta:"Post Modernist Mardyrdom" Digital Media, A, Vinyl Collage, C 86" x 13' x 4"
DAVID W. McCULLOUGH -
For fifty two years my 'Quantum' paintings, sculpture, and all works on paper have been dedicated to capturing nature's light energy , color, and geological crystalline Geomancy through audio taped recorded musical traditions worldwide. My outback bio - sonic interpretations of natural phenomena through color/sound audio interaction with watercolor has energized all the mediums I use in the studio. By utilizing the principles of quantum physics I've learned to develop a bio - sonic quantum aesthetic presence to describe nature's mysterious complexities. My quantum creations have thus become multi - disciplinary and multi - dimensional. A quantum infused flow of coherent nature inspired watercolors have been a great asset in the creation of a wide range of innovative concepts . These aesthetic resources have been combiined with knowledge from the disciplines of Chemistry, Mineralogy, Crystallography, Geology, Physics, Bio - physics, Mythology,, and Music, art, and poetry. The daily practice of Transcendental Meditation since 1969 has taught me how to incorporate many levels of consciousness into all the creative processes and art mediums.
For many years, 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. These field notations helped me capture their seasonal color changes, rhythmical poetic spirit, textures, learn about the cultural rock painting depictions of their traditional stories mythological significance. The geological rock formations.helped me recognize their crystallographic order and sacred geometry.
These journeys brought me face to face with Native American and Australian Aboriginal Cultural history in the form of hieroglyphs, pictographs., and their 'Dreamtime' stories, music, rituals and mythology. Painting watercolors at Native park sacred sites enriched my appreciation of the holistic nature of these park places and their Native spirit presence. The park visual rock painting encounters deeply enriched my artistic appreciation of their cultural history. It also fostered the aesthetic development of a need for a new remastering program that would incorporate a quantum aesthetic into the development of new forms of applications of materials, tools, and acrylic color chemistry and importantly an infusion of audio bio - sonic resonance from a more diverse range of musical instrumentation. This allowed the quantum physics concepts to frame up the poetic ordering and Geomantic perspectives of my artworks colorful stories.
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,and resonate through a variety of musical sounds a deeper platform for intuitive experiences and bio - sonic influenced biological expressions of creative consciousness. By raising a heightened audio awareness of my creative potential, I could learn how quantum possibilities operate in the expansion of all processes involved with a bio - sonic color consciousness. Nature's Geomantic crystalline order also exposed new contexts for sacred colorful interactions and exciting rhythmical properties. The use of quartz crystal alignments with all media processes gave the mineralogical properties of color pigment and their earth formed geometry a way of assisting the ordering of the entrainment processing of consciousness.
The mediums of watercolor, drawing, poetry, photography, music and crystallographic processes are the foundation stones of the quantum studio compositions. I have used these nature insights to instill into my Taoist vision of art a special geometrically ordered sacred 'crystallographic' quality of coloration that best describes her spirit and holistic harmonic frequency 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 quantum ways of infusing a cosmological perspective into the artworks. By enhancing the quantum aesthetic, it bolstered the holistic earth energy rhythms, plant consciousness, the mineral kingdom, and all of nature's magnificent color processing systems, thus, expanding my quantum potential to evolve new creative visions.
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 transformational. 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 that has informed the context and content of the multiple layered imagery, alchemy, and audiovisual color resonance of my bio -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 sonic frequencies informs and generates new heart and hand rhythmical sensations that enhance my quantum coherent participation in the expressive magic of watercolor painting. Visual entrainment with the colored water informed imagery of sonic geometry produced new outcomes and participation of consciousness.within the various nature systems at each site. The musicians sounds and the instruments (many crafted from earth and animal materials) from cultural traditions all over the world, especially American Jazz, create in me an intuitive sensibility that allowed me to freely express spontaneously my feelings and emotions in accord with their passion and musical knowledge of rhythmical sequences, interval spacing, and a pure harmonic balance of a spirit / soul filled synthesis.
The talented world musicians and their instrumental cultural sonic frequencies have influenced me in feeling, expressing, and interpreting through my eyes, ears, and primarily the heart, their rhythmical lessons concerning nature's sacred colorful ordering systems, sacred geometry and its lyrical psyche. These cultural and nature infused audio - visual insights are embedded with a cosmological significance and a soulful spirit energy. When my national park field audio visual watercolor information is combined with their sonic input I am able to use this synthesis to create a poetic intuitive response in all my media field creations. This poetic synthesis ultimately represents the 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' is grounded in nature, bio - sonic musical vibration resonance, and fifty two plus years of the physics of 'color energy entrainment.' I have woven into my poetic color cosmology, patterns from sonic geometric order, and a diverse contrast of cultural aesthetic sensibilities from music, art, and poetry. Each creates a play full coherent flow of energy in each artwork's color energy fields . This 'play' of spirit is filled with many lyrical harmonic multi-dimensional presence for consciousness to operate in accord with the consciousness of all elements, especially 'water.' I have cross referenced through this aesthetic 'play,' many transformations of personal experiences, along with scientific knowledge to hopefully inspire quantum coherent insights into how music, art, poetry, and color harmonic frequencies can be 'synthesized' in an artwork. The creative interactions of new quantum aesthetic possibilities: if acted upon, can create 'Quantum Energized Artworks' , which are capable of being transformational and harmonic.
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.
Quanta:"Natural Grace" Ceramic 15" Dia.
Quanta:"Listen Up" A, MM, C 54" x 40"
Quanta:"Saint Andrews Jump" A, MM, C 40" x 54"
Quanta:"Solstice" A, MM, C 72" x 48"
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 'rear-view mirror' quests. It has renewed my 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 physically, mentally, and spirit /soul performed to musical sonic vibration frequencies from musicians instrumentation from all over the world and all genres.
I often structure the water with music before using it in my water based acrylic polymer art materials to enhance its molecular properties that in turn improve the color energy.. Sacred and sonic geometry, crystallography, the meditative practice, and entrainment processes have elevated the operative use of consciousness in all levels of participation in the quantum art making process.
This approach to ordering creative energy through my water - bio - sonic being essence has been fluid, dynamic and trans-formative. It has opened new realms of artistic self discovery that has made art making playful, and color energized.
My nature adventures into many southwestern 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 transformative qualities of the watercolor and drawing sonic nature color experiences have been fundamental to their use in the studio mediums. They have increased the conscious use of color energy.The sonic discoveries of world cultural arts traditions has evolved new creative conscious dimensions and intuitive depth of experiential recall that will be needed to sustain future quantum discoveries of a entrainment of 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 connections to the color interface with the big 'C' consciousness.
In order to map and navigate new artistic applications of materials, processes, and systems in painting, sculpture and works on paper, I created new language energy forms like 'collaging', to activate the imagination and the discovery of new processes, systems used in other commercial businesses, chemistry, and tools.
Research into the vibrations of recorded music sounds from the fields of Jazz, Rock, and World music to vibrate and and construct a harmonic sensitivity in my bio-physical nature to increase the coherent flow needed in formulating a color consciousness that energizes the creative performance execution capabilities and water based acrylic polymer paint color chemistry applications.
All musical sound vibrations excite the heart rhythms, emotions and the total aesthetic expression of being and aliveness, as well as an elevation of the meaning and purpose of a quantum aesthetic.
The Jazz improvisation and variety of collaged sonic input creates a harmonic pathway to a more meaningful and purposeful creation of artworks.' Sergio Mendez, Santana, Gato Barbieri, Afro - Beat musicians, and Afro Celt Sound System and many others have been strong influences of my "Quantum Quest."
Watercolor field trips throughout the national park system, the southwest canyon lands, Native American sacred rock painting sites have been an unequaled inspirational force in the development of all medium combinations.
My recent return to the mountains and canyon streams of Colorado and especially Rocky National park and Eldorado Springs park have again advanced my study of water consciousness through on site watercolor painting and drawing to capture nature's psychic importance in the development of a strong intuition experiences. These field trips that involve hiking, recorded musical synchronization, and meditation are the foundation of the bio - sonic consciousness of the quantum coherent flow of concepts in all my media harmonic quests.
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, whose properties have been adapted and used to manage a coherent flow of Q -Way learning experiences. Some of these properties, say entanglement I have taken the liberty to change to 'entrainment' because my color/sound entrainment experiences have shown me that bio - sonically there is more coherent 'flow' of the operation of consciousness in the creative activities I have witnessed. The pigmented color is a mineral and has a unique geometrical order that can affect its interaction with water's ordering system of information/consciousness sharing in the entrainment process. A quantum aesthetic awareness arises from the direct entrainment experience of the creative process itself. It is as though the process actually dictates the action from one application to the next. These new entrainments form a quantum leap into dynamic interactions that are kept flowing by the musical instrumentation resonances and color/ sound energy synthesis.
These new bio - sonic insights learned from quantum aesthetic artwork entrainment experiences have required me to find new descriptions to transform the language of a subject in order to ascribe its energy to the entrainment process. These quantum bio - sonic metaphors are responsive to the micro and macro metaphysical nature of the processes and there transcendental transformative actions.
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 bio - sonic entrainment processes. These insights and experiences have increased my intuition capacity to trust my feelings and emotional heart felt path of aliveness. My ability to use new metaphors to compliment the language 'verbing' process has opened up ways of synthsising analog and digital technological operations in all levels of society.
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 have also helped to give charcter and an integrity to my color - sonic energy systems. Relationships to a full range of generated hydrological /cosmological cycles have been important in the re - mastering process of newly imagined re -creations in all mediums.
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.
Sequoia Park Series
Quanta:"Sphericity Jazzy Flight Time" A, MM, Collage on Paper 18" x 33"
Quanta:"Jazzy Cactus Vibrations" A, MM, Collage 30" x 22"
Quanta:"Arjuna in Rishikesh Plaza" Ink, paper 14" x 11"
Crystallagram 23. Mantra: "Pink Enlightenment" A, Oil Pastel 25" x 38"
Mantra:"Conservation of Parity" A, MM, C, Wood 48" x 48" x 4"
Quanta:"Mwuetsi, the Moon man, cut loose" A, MM, Canvas 72" x 144"
My Quantum Art Aesthetic reflects my re - mastering of fifty years of art making in all mediums. Bio - Sonic color energy and musical sound frequencies,are the featured elements in the quantum coherent flow of all my creations.// The bio - sonic statements in my blogs are from many years of water based acrylic polymer color chemical experiments, new tool applications, on site watercolor audio visual field work in national parks, and sonic geometry sound frequency compositions.
May 17, 2018 - Dallas St. Matthew Episcopal Cathedral Art Gallery 'Quantum Bio - Sonic Color Energy' - all mediums
Fall 2018 - Dallas 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
2016 - 2023 Quantum Bio - Sonic Remastering program and Bio - Sonic color/sound research - New Quantum Bio - Sonic Paintings from India watercolor series
1914 Moser Ave, Dallas, Texas 75206, United States