To anyone vaguely acquainted with my lifestyle and my involvement with growing things the images that I commit to "canvas" may come as a surprise.
Philosophy Behind Current Work
The current paintings represent a marked departure from the surreal style that preceded.
It struck me one day, with an impact that is characteristic of truly new personal insights, that geometry is something other than merely a mathematical discipline. The realm of geometry is a "place" with its own rules. It is not a notion invented, but rather a domain discovered.
We acknowledge unhesitatingly that the four corners of a square are each 90 degrees. The sum of the extremities of any triangle is 180 degrees. The relation of a circles diameter to its circumference is Pi. The names are ours, the laws they define are not. Geometry exists independently of us! But where?
Remote from material co-ordinates its location is that of time itself and no less substantial than physical stuff, which physics proves an illusion generated by an array of forces.
Our individual acquaintance with geometry is an illusion of equal strength. We assume a personal familiarity that is no more justified than the average persons grip on E=MC2.
Someone more adventurous than ourselves strayed into new territory and returned to tell us about it. The glory is someone else's
Most of what we 'know' is second-hand. But long before Euclid, someone somewhere saw beyond the array of images supplied by the everyday physical world. Yes, there must have been a time when the abstract was first glimpsed.
How did this human convey the strangeness of a perfect equilateral triangle to his fellows? They had no model in their experience, which equaled that utter precision of form. The visionaries charcoal smudges failed him. The eloquence was in his mood, not his crude renderings.
It had the potential to be the experience from which cults might germinate, but I know of none that did.
Millennia later the 70's classic 'Zen and the art of motorcycle maintenance' did assume cult status. At one point the central character, a teacher trying to help a student suffering writers block, suggested she write about a brick in the wall.
To demonstrate the technique's application in my artistic life, and its elevation to metaphor, let us imagine a door in the wall between the material domain and the abstract. I now register a panorama behind that door, a vista that was not a justifiable belief until I had pressed my eye firmly against the 'key hole'.