When presenting my work, I have often been asked, "Is your work Art, or is it Science?" Posed with this question, I have always answered, "Yes."
My sense of the subtle is filtered through a net of experiences that many have called a 'renaissance perspective.' I encourage those who read this text to relax, and listen through my ideas to the poetics that birth them. The curious reader I direct toward my web portfolio.
For me, the practice of the Artist is an expression of the edges of experience - the foggy areas of our awareness. Through exploration, the fog clears, the edges recede, and these areas become the domain of science, mythos, and similar cultural systems for the description of phenomenon. Acting as a scout, I feel it is Art that heralds the growth of our collective unconscious.
In the development of work I often utilize maquettes that are scientific in language and nature. In this manner, 'science' acts as a way of modeling ideas that I then express artistically. Often this rendering takes the form of sculpture, or digitally crafted works of 'new media.' Increasingly, I have been working with new concepts of medium, such as what it means to sculpt gravity, the structure of space, and cosmological geometries.
I label these mediums with intention - the work I am developing shapes the phenomenon we call 'gravity,' seeks to fold high-dimensional spaces from quantum fields, and set the 'cornerstones' of geometries that are cosmological in scale. Another manifestation of my work is the rendering of a Rosetta Ley, a lexicon for the association of magnetism, electricity, radiation, gravity, sound, light, orgone, thought and other forms of energy. The work was conceived from dowsing laser light to explore the connection between consciousness and gravity.
To me this is about a fundamental exploration of medium. I see it as a search for new venues of discourse and expression. My process for delving into these areas is to sense that which I find healing. It is my belief that Art is among the most potent forms of expression that humans have at their command. I feel it causes healing through illuminating a sense of that source which is common to the human experience and by this groundwork allowing dialogue to occur.
This manner of discourse is critical to my art making process, and it is what I bring to the community and environment of a graduate school. In any medium an individual takes up, their discursive process is fundamental to the work they do. I find the nature of my work is such that its exploration informs scientific perspectives as well as those of the arts. Through this understanding I seek collaborations with those within and beyond the traditional spectrum of Arts.
In these inter-disciplinary efforts I feel work can be wrought that is a fusion of all those present. By this I mean that the artistic practice of exploring novel edges can aid in giving vision to science, and access to scientific tools broadens the medium and palette of art. In such partnerships I feel that new terrain can be explored that sets the foundation for whole fields of inquiry. Through these fields I see an ontology being nurtured that is inclusive to the many systems of knowledge humans have developed. By basing this comprehensive ontology on awareness common to the human experience I believe education can act as a unifying force. In order to realize this vision I seek the development of a networked learning system to collaboratively explore patterns in our world. I see such a system as being self-referencing - using metaphors common to human cognition in the development of living principles.
My sense is that the 'technological' aspect of this system would operate like a radio that can be tuned to multiple stations simultaneously, blending them to make one's favorite kind of music. Information would be blended to make patterns and trends of any size visible at the macroscopic scale. In this I can see rendering ecosystem development from the perspective of genetic recombination, mapping the environment as a kind of 'computer processor,' making visible the effects of subtle forces such as ley lines and prayer, as well as aiding in the pursuits of other academic and commercial fields.
I feel the creation of such a system must happen via a transparent process modeled on open source software development. This will allow existing wisdom and experience from all corners to aid in making something that is accessible to the greatest number. To me, this methodology can be used to sculpt the framework of an academic charter for building a university that promotes inter-disciplinary principles. I believe such an initiative can reveal links between ecology, human rights, law, medicine, languages, mythology and other cultural arts. I envision such an educational system as being the formation of a Rosetta Stone between cultural practices.
An example of such a 'rosetta' is a lexicon for dialogue between the medical systems of Indigenous holistic herbology, Eastern energy meridians and Western surgery. A maquette from my own work for such a union is research that shows Tai Chi is likely to reduce the risk of driving accidents. Further, Tai Chi is a strong candidate for the prevention of bone density loss and could be practiced in space, where such problems occur from the prolonged zero-gravity environment.
The nature of my practice is to blend disciplines. I see a way to use a vortex flow with dynamic acoustics as a filtration mechanism. The system, as visually and conceptually beautiful as it is practical, is being reviewed for funding by representatives of the U.S. Government. The system is based on buoyancy, a gravity equilibrium that I feel can be rendered by making things 'float' in large stable vortices - like the Great Eye storm of Jupiter. I feel this equilibrium can act as a sensor, allowing us to see the movement of weather patterns before they physically appear and reveal the effects of exotic energies on the other side of the universe.
My understanding of the work I do is that it makes connections and offers them up as a map. An example of this is my vision for a Periodic Table of Geometry - a smooth ramp for the sciences and arts to introduce concepts uniformly at all levels of education through grade schools, college, research and applied professions. A more metaphorical structure of periodic geometries are the fractaline field dynamics of celestial bodies. I see 'street sign'-like Roadstones inscribed with spacetime telemetry, placed at 'cross-roads' in the field harmonics of planets and the expanse of heavens between them. The timeless rendering of such a work is a labor that encompasses many disciplines. I know partnership is at the heart of this work, and I yearn for a community with which to share. As an Artist, I am growing, and I seek to foster that growth.
© New Alexandria 2002