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like the breath of a moving chest, or occur at frequencies only algebra's can denote. But through it all tensional spaces creates a music for the arts, which can be folded into a understanding of ourselves and how we live.
Everything and everyone is unique, when I was a kid they tried to explain to me that "1 + 1 = 2" and that "1-1 = 0". I have never seen two identical things, nor the subtraction of two things leaving nuthing. So you can't in reality add two identical things (since they don't exist), and If you try to subracts two things, you always have something left over. For me, we don't have to try to be unique, we just are, we don't have to try and create something unique, when we create it will be unique.
When you observers my art, you are creating something unique in your mind. Creation enfolds with each observation, on each fixation, on every contemplation. Creation durring observation changes us, and folds our life experiences, which will influence what we create next. There is a cycle of observation and creation, at a macro economic level, at neural level, at a quantum level. You can't observe something without creating someting else, and you can't create something without something observing it. This cycle of observation and creation is the fundamental law that my art rests on.
I know something will eventually emerge when i am folding the colors onto a canvas. But self doubt does creep in, after layer of layer collapses into a greay, and drops of failed ideas congeal on the floor. often i paint thru a completed work, hopeing for more but getting less. stack after stack of unsold paintings, put a social pressure to do posters of succesful ideas, but it's the music in my mind that keeps me going. There's a therapy of sorts, painting like i do, which is probably more for me working through issues, then having any technical merit. I hope people observe in my paintings, what i'm getting out of doing the painting.
All my work has a conceptual framework that i want the observer to participate in. When I paint, "i paint", but before i paint i review concepts and pre-geometries in my mind, sometimes for months. Basicly tensional spaces are information, and information is being folded from me, to the physical canvas, then uploaded into electronic media where most people interact with my art. My physical paintings are complete pieces, the music, the physics, the virtual structure, the video, are to help the observer get into the space where I am painting, when "i paint". The connections a observer has with my paintings, resonate with thier own personal experiences, and the virtual world helps me establish a common experience base, to key those resonating spaces.
In music, Copeland talks about a gifted listener. I often am reading books and writings from Copeland, Kandinsky, and other critical thinkers ... sitting a few feet in front of my painting. While I'm sitting there, reading, glancing up at the canvas, thinking about what I'm doing ... I often think about the person that will view the painting and what is the point of what I'm doing, since few ever see my paintings in rl. I am painting for a the gifted observer, an observer that probably doubts thier own gifts, or pays to little attention to them, someone that creates something in thier minds when they view my painting, that really know one else sees.
Wealth is about creation and control, creation generates wealth, control keeps it from dissapating. Colors are like notes of creation, the tension is ballanced between a grey random and controlled strokes of thought. Modal voices pull chords when i connect a piece together. A gifted observer can resonates with these voices, take the raw art and mold it to our plastic reality, folding science with art, business with duty, observation with creation. That's my view when I paint.
You can't force creation, it emerges through the sweaty folds of work, births of thought. When i complete a piece, I'm a mess, paint is everywhere, in my clothes ... stuck under my fingernails, the painting itself is thick with pigment and often in a precarious position(as i often kinda forget myself and will be painting the piece off of it's easel, or drum beats on the back of the piece, resetting it's movment). I try to sit down somewhere without breaking something, trying to not knock over paint cans. As a viewer, I sit down, and in a moment I judge the piece across three component values: spiritual, sensual, and scientific. On that judgement, i decide if i'll paint over the piece, or let it dry.
Every person has different gifts of observation and creation, so i purposefully fold all the arts together, both liberal and scientific. Some people will connect to a piece at a musical level, yet create in thier minds something scientific, others will connect to a piece mathematically, yet create in thier minds something sensual - it's up to thier gifts that they have, what they will gain. It's up to me as the creator of the art form, to give enough depth, to fold all the dimensions of thought that i have, to create resonantes that the observer experiences the gift of emergence.
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