I augment original Fine Art with New Media; blending Surrealist, Psychedelic, Pixelated, and Optical Art styles. Often digitally, I research, photograph, generate, and manipulate patterns; printing, adhering or otherwise mapping colors and textures onto fabrications, assemblages, paper-based, and projected imagery. My interactive installations and kinetic sculptures often include lights, motors, sensors, and controllers embedded in objects; producing both programmed and spontaneously emergent out-comes. I receive inspiration from visions, concepts, interests, materials, and processes; following threads through relatable data and precedents. Academic position writing has given me a reverence and workflow for clearly distilling information. This extends to my artistic process; comparing, and contrasting my research materials, both logically and intuitively, to help identify the strongest connections for communication. Like other observation processes, representing clairvoyant visions requires compromises in focus and representation of overall forms versus details. Through artistic license, I make decisions and interpretations about fleeting aesthetics, to capture signals received from the collective unconscious, and try to contextualize them with high vibrational and dimensional lessons. I seek these psychological, social, environmental, and spiritual clues to a shared unity that runs deeper and truer than any externalized model of consensual reality. I acknowledge that me outwardly expressing consciously experienceable artwork, that is motivated by a re-calibration to something singular and internally knowable, can seem puzzling. Meanwhile, I feel that contrast can be a beneficial force; like a kind of gentle tension that pulls people to seek out knowledge and experiences that they can integrate into their world view.
As I develop my external and internal observational skills, I receive images from my environment, my higher self, and other soul guides. This process now flows intuitively as it seems a soul’s mission should. My discernment of these messages and my intentions ask me for help to transform Earth through higher vibrations, dimensions, and expanded Consciousness. Manifesting my clairvoyance may allow others to experience my visions; perhaps for the first time or rekindle a latent subconscious memory of something emanating from the same source. I am extremely grateful for my loved ones and guides’ support of my need for creative expression. I hope that fulfilling this healing path will inspire others to discover and walk their own; satisfying their divine purpose to accelerate our physical and mental worlds towards spiritual and divine realms.
Inspiration comes from concepts, visions; and available materials with other intended purposes being discarded or from home improvement and surplus stores. I collect and reuse paper goods, polymers, glass, metal, wood, and hardware; while augmenting them with pigments, clays, software, and more archival preparations. Sometimes my visions are sudden and fleeting, so I must utilize my observation skills to quickly break down and summarize their aesthetics into notes, while interpreting and applying artistic license to quickly fading details. My work experience with computers, video, stage carpentry and lighting, also helped prepare me to research and combine materials, techniques, and acquire further skills required to manifest multidimensional work. I digitally photograph, generate, and manipulate visual plans and patterns; then print, adhere or otherwise map colors and textures onto original fabrications, assemblages, paper-based, and projected imagery. My interactive installations and kinetic sculptures often include lights, motors, sensors and controllers embedded in objects; producing both programmed and emergent outcomes by design.
I create Fine Art inspired by the Maker movement, which is very hands-on in terms of experimentation, interactivity, and physicality; as well as Visionary Art, which combines Psychedelic Art, Surrealism, Shamanism, and Philosophy. During work for my BFA, I became very interested in applying non-fiction film and sculpture to multimedia, museum exhibition development and user-interface (UI) and experience (UX) design. My MFA thesis was inspired by tracking and interactively visualizing representational moments during Surrealist automatist drawing, which lead me to Gestalt psychology and its study of visual perceptions of groups, continuity, and foreground/background separations that contribute to optical illusions. Closed-eye visions, dreams, and optical illusions are some common indicators that the five basic senses are not objective inputs for modeling our environment; nor are these externally-projected maps complete. However, our environment is changing, which is offering us opportunities to expand our consciousness to receive and integrate more data about creation, its intention, and manifestation.
My work about Cyborgs also motivates the art I display. My etymological research traces the intentions behind words, to reconsider perceptions about their Humanistic potential. The original Cyborg concept regards a human whose subconscious, self-regulatory functionality integrates external feedback, to free their consciousness to think, create, feel, and explore in new environments. I seek to facilitate this by manifesting art that conveys high vibrations and shifting dimensions. My intention for this is to provide artistically-interpreted, universal signals of love and unity, to offer people calibrations to consciously experience subconscious connections to their own higher power.