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"All forms and movements found in the human body appear spread out in nature. The opposite is also true. All movements and forms that the universe holds in readiness meet in the human body." Theodore Schwenk, Sensitive Chaos, 1962, p133.
The techniques I use come from experimenting with the physical qualities of the materials. The pigments are applied as a series of events and are encouraged to play out in the liquid state forming chaotic systems on the canvas. Elements of the system influence each other depending on placement, viscosity, and elevation. With gravity being the driving force, the shapes that emerge are not just natural looking: they are actually generated by the movements of nature.
Common laws govern the shapes as they line up to integral orders, likewise my fluidity during the creation process lines up because of the same common laws. When I observe my own behaviour, keeping ego free and in the moment, a kind of flow develops directly related to what my work involves (liquid dynamics).This can be seen as a fractal model, where parts of a system or process are self ?similar; the focus on my behavioural flow while my attention is on the flow of the materials. Subsequently, it's a place where harmonics abound. I see this as a kind of algorithm for the continuity of nature. Like the force of the rain upon the solidified landscape, the wind flow, plants growth patterns, all having the similar essence to their motion, all having an influence on what we see as a balanced nature. When I am successful it is because I am part of natures balancing process while expressing my own sense of balance. Because of this, events are given room to progress on towards they're own agenda. As in child rearing where the goal is not to control but to create a fertile environment where the growth and development of the individual are best realized.
Analogies continued leading to the specific view that what I had been witnessing was how personal and interpersonal expressions would look if we could see them in action.
The multiverse is full of unseen flow movement. Time-lapse films, infrared scanners, and other tools for sensory extension have greatly enhanced our perceptions. After many hours studying paint flow on the canvas, after-images carry with me late into the day. Other activities become combined with these, so that a superimposition of sorts occurs.
This is a fascinating experience when in a conversation. I get glimpses of the messages physically flowing and interacting just as on the canvas. There is a great reassurance to be able to visualise this.
To seeing what's going on as it happens. Not just the information being interpreted mentally but the visceral dynamics involved. A heightened sensitivity develops that push into consciousness allowing a pseudo parallel processing to occur. This is the therapeutic aspect to my art making. Revealing the issues, which centre on my self-expression and whether they are hindering or advancing the flow of my self-development.