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.
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.
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 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
May 17, 2018 - Dallas St. Matthew Episcopal Cathedral Art Gallery Retrospective - all mediums Opening reception 6 - 8 pm, Ross Ave
Fall 2018 - DM 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
1914 Moser Ave, Dallas, Texas 75206, United States
Quantum Art today will reflect my concerns in all mediums for the energy of color and sound frequencies as they effect the content, context, and presence as a creator. The bio - sonic realizations that I will comment on are the outcomes of many years of practical use of many acrylic polymer experiments, applications, and formulas that have expressed my concerns for the optical essence of light -color and their interaction with sound elements, essentially music research that has a Jazz improvisat