About

I refer to my artistic process as a crystallization of vibrational energy from formlessness to form, from metaphysical to physical, which is the process of manifestation, not only physical manifestation, but the manifestation of conscious energy into thoughts, ideas, and dream imagery.
Many years ago, I had an idea to create a type of notation for jugglers, similar to dance notation, so I could create a visual record of a long series of juggling exchanges and patterns. The path of a tossed ball forms a perfect parabola. The shape of that parabola can vary as the ball is tossed from hand to hand, high or low, narrow or wide, and the perfect parabolic wave form is always present, invisible but present. To create the notation, I drew parabolic wave forms of various frequencies and amplitudes. I drew with a pencil, and markers, on paper.
These wavy lines described the path of a tossed ball, but they could also represent light waves, or sound waves, or brain waves; alpha, beta, delta, gamma, theta waves, and the act of drawing became a moving meditation. I had turned juggling into drawing, making the invisible parabolas visible, on paper.
These long crisscrossing lines passed through each other without interference, in the way that light passes through light and also delineated a tessellation of irregular shapes. and because I thought of the lines as existing each in their own parallel planes, even the shapes themselves were illusory, connected only by the fact of the two-dimensional paper on which they were drawn.
The next step was to allow the lines to become interactive, by attraction or repulsion, to the other lines on the paper, allowing shapes to form by simple reinforcement, or its opposite, which I thought of as the positive, negative or neutral principles of electromagnetic energy. Shapes began to emerge.
The next evolution in my art was the use of grids. These grids were, to my thinking, flattened, stretched out wave forms. I drew horizontal, vertical and diagonal lines to create a tessellation of squares and isosceles triangles.
Now the drawing is built up as I bring a line into this grid. The point of the pen enters, from the side, as traces its way through the grid, being reactive, or nonreactive to the lines it encounters, positively or negatively, or neutrally, without or without intent on my part, it progresses through the grid, and it may pass through, or it may align, or it may ‘bounce off’, or move away from, it may trace shapes, and make connections, it may connect one shapes to another. This crystallization process represents my beliefs about the nature of consciousness, and how raw energy is refined, and turned into the imagery of the mind’s eye, the things in our thoughts, the things in our dreams.
And while the drawing exists on paper in two dimensions, to my thinking, the drawing is three dimensional, and the point of the pen is always in ascension, enough so that the moving point can only pass over another line, never through it.
After three decades of drawing in this fashion, I got around to turning my art into digital files and playing with them on the computer.
When I make art, I have three intentions; one is that there is no duplication. Every single element in every image is unique. Nothing is cut and pasted. Second. There is no conflict. There is chaos, and complexity, but no conflict. Every element exists safely in its own place, and to my imagination, is free to move about. There is no struggle.
Third, that my art gives pleasure to my eyes.