Co-Creative Art

The observer is anything but passive in quantum physics experiments. Observation appears to affect what is being measured by “collapsing the wave function." Gazing into my abstract paintings similarly involves collapsing the possibilities of a semi-formless chaos into an interpretation. The complex yet indistinct shapes, colours, and textures compel the imagination to complete the painting. This co-creative style of abstraction acknowledges and draws out the creator from within the observer.

Gazing and visualizing are one type of interaction people can have with my art. Like the Rorschach inkblot test, my paintings can facilitate mild conscious visualization. The viewer supplies the content and meaning of what is discovered—that is why I refer to the paintings as dynamic playgrounds. This inbuilt subjectivity allows one painting to appear differently to a multitude of viewers, functioning as a kind of subconscious mirror.

In quantum physics, objects can exist in more than one state when no one is looking at them; curiously, my paintings exist in multiple states especially when people are looking at them. A group of people reported seeing the following images in the painting below:

  1. a whale with a blue-green eye

  2. an elephant

  3. a lady dressed in pink holding a scepter

  4. a robot dog

  5. a lion’s nose

  6. a mountain landscape

  7. an elderly man with long hair

  8. a skull

  9. a fish blowing bubbles, waves

  10. a pair of children

Visual Jazz

First and foremost, abstract painting is improvisation to me: visual jazz, play, being absorbed in the moment, expressing directly. Painting is also my meditation: becoming quiet and still inside, following a feeling flow, letting it guide me…surrendering to the organic process of exploration and discovery. Like dreaming, grand narratives unfold in the absence of logical thought.

Visual jazz

State of the Art Frame

I couldn't find a framing style that suited my Shan Shui Series of paintings at a traditional framing shop. So I decided to research and develop my ideal framing style and 3D print it. The result:17th century meets 21st century.

The100% custom design below is actually a computer model that was 3D printed and hand-painted. The production is being handled by a company that supplies national museums in central Europe. 

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Shan Shui Series concept art 

Luminous and Ethereal

Glowing colour: beautiful and haunting...colour taken to the absolute maximum point of intensity and saturation.

The soft, warm glow of neon. The otherworldly atmosphere of bioluminescent algae illuminating ocean waves. Filamentary clusters of lucent galaxies that are the largest observable structures in the universe. Incandescent Christmas lights under a blanket of snow. This is where my love of light begins.

I deal with actual and perceived luminosity in my work. Through various juxtapositions and playful contrasts, colour becomes light. I explore both the inherent luminosity of the colours themselves, as well as the character and qualities of light — the latter being an investigation normally reserved for realistic painting. 

Topographical Detail

The topography of abstract art can be difficult to infer from photographs. Colours and outlines tend to dominate in these head-on, fully-lit, flattened photos. When regarding a painting in person, one naturally approaches it from different angles, gleaning all of the intriguing surface details through the play of light and shadow.

In abstract acrylic painting we have the opportunity to explore different dimensions of paint: surface details, textures, patina, metallics, iridescents, and variations in height are a landscape for the eyes to enjoy.

#150, topographical detail

#151, topographical detail

Materials

I paint with professional grade acrylic paint because it is a novel medium, fully alive and overflowing with new possibilities. Being water-soluble, acrylics allow me to incorporate the dynamism of water into my art.

I paint on masonite: an exceptionally smooth, compressed wood substrate. I find the high-tech acrylic polymer emulsion benefits from some form of grounding, and wood provides that; it brings the synthetic back down to earth. The luminous and ethereal aspects of my paintings are also balanced by the earthiness of wood.

The smoothness of the masonite enables me to create very fine details and delicate lines, giving my work a 'high-definition' quality.

The Universe

Many people comment that my painting Laniakea (right) looks like the Cosmos. I tend to agree, especially when placed next to the emerging map of the universe, which appears to be composed of thread-like galactic superclusters (left). Laniakea means "immeasurable heaven" in Hawaiian, and is the name given by astronomers to our local supercluster.

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