July 13 – August 8, 2017
Gallery hours: Thursday, Friday and Saturday 12-5 pm
and by appointment 214-532-3225
Statement: The developments in quantum intelligence whereby binary combinations of zero and one expanded to tertiary dimensions and other multiple arrangements transform by visual imagination.
I approach the various dimensions of computational intelligence from the perspective of layers in progression. In an abstract expressionistic mode, gestures become the first layers in this series of works, titled Quantum. The process continues with other layered dimensions where the integration of gestural marks forms geometric spaces. The triangle appears as the most pronounced form. My discovery of geometric forms emerging from expressionistic gestures relates to quantum computation whereby the universal forms expands beyond the binary to the triangulated form.
The evolving complexity of different shapes such as the square, rectangle, parallelogram, trapezoid, pentagon, hexagon, and polyhedrons to the circle illustrates the relationship of point to line to shape.
In the four paintings (Progression nos. 1-4) that are seminal to my discovery process, I confront the idea of the underlying base gesture, the chaos of line. I left these first layers exposed within the circle acknowledging its recombinant quality as the apex of triangular forms.
These geometric progressions demonstrate a fundamental morphic code that resonates in the universe as a type of memory (after Sheldrake). This memory transmits the point, the line and the fundamental shapes described above.
To reiterate my statement, it is in the process of making gestures and discovering emerging shapes based on the triangle that I began wondering about the morphology of recombinant forms, particularly in reference to Rupert Sheldrake’s work on morphic resonance that he proposed based on his research experiences in cellular plant biology, specifically the area of emergent growth, the apical meristem (the tip of the shoot and root region of actively dividing cells). Sheldrake questions the way forms and shapes develop beyond the dependence of the genetic code of DNA.
His approach also challenges the traditional way in which science attributes characteristics to the universe as either living or non-living entities. Sheldrake questions this dichotomy when he postulated that shape making, the morphic resonance in the universe, is a force field that affects all elements of the universe–living and non-living combined.
The physicality of gestural motion induces a state of consciousness that has elements of meditative and trance-like qualities, which allow for spontaneity, randomness and chaos–in a sense allowing for mutations and irregularities as part of the process.
My art process of hand drawing or painted line and gesture did not use a formal diagram or plan, nor rulers or straight edge tools, makers or measurements. It is just a spontaneous movement of gestures and lines that give the dimensions to shapes.
Returning to the concept of quantum, it is as if information becomes formulated by the resonance of shapes, in terms of its focus, connections, transmutations, and evolution. George Santayana’s theoretical The Sense of Beauty captures this when he writes,
“But in certain moments of contemplation, when much emotional experience lies behind us, and we have reached very general ideas both of nature and life, our delight in any particular object is a manifestation of universal principles.” (Santayana 1896, republished 1955, p.11).