Statement
    No artist is ever a master over art; all artists reach for a goal, never arriving but always getting more acquainted with the rapture it entails. Why be troubled about what styles of art display a closer relationship to the essence of art when all styles of art do just that? There is a purity in art, in that there is no wrong that can be done in its undertaking, so long as art is being done and not just thought of being done. And even then, there is a form of gratification when artistic realizations flash in our minds, the problem being that there is no certainty you will be able to dip back into this incredible feeling on your own without a visual guide.

    Any sort of act can be an act of art;  The way we treat our bodies, how we have an argument, the way we wait for a bus, the expression of pain as we have a wound mended, the style of reaction we apply to situations when people ask us personal questions,  and all other expressions of ourselves. Life is full of toil, but even in toil we can realize one great fact, that when we become angry, sad or happy we are interacting with something outside of ourselves. This is the sihn that invites us through the doorway into art.
 
    Within the depths of all people, I most firmly believe we all entrust our faith in animism, believing that we reside in a world that is very much alive and with presence; the objects we find in the everyday have a presence that we can appreciate and even adopt as our own to appreciate later. The food that we eat melds with our own systems, transferring the life of the meal in to the life that drives us. Even our actions and emotions have a life of their own. Our thoughts, actions and expressions compose a person in the same way that living cells in our bodies make a person.  The ideas and thoughts we absorb come together to make one mind, which is in its own right a person.

    Our lives are based around the relationship of two, meaning the relationships between features, subjects, objects and beings in life. There are relationships between two nations, two individuals, two ideas being debated in one person. And even between two things like a person and their thoughts or a person and the pen that they hold in their hand, which don’t share the same plain of reality and understanding yet share an existence. Even the two hemispheres of our brains are opposite perceptions of reality.  Yet somehow a consilience emerges, even between opposites, between two things that logically should not be compatible.

    Life becomes interesting (meaning art enters our live) when the idea of duality dissipates and all that remains is art in its purity, where creator and action are one. To paint a picture, like getting along with others, we become comfortable and forget differences and even forget ourselves. Then there is no longer a dualistic division and instead only one. Art comes from there being no artist and action, master and slave.  It is an understanding, a partnership.

    So when a person holds a brush in their hand, dabs at the paint on a palette, eyes a scene in the world and processes a thought which will become a command for the arm and hand to obey applying paint to a canvas, a miracle of life and art appears. I call it a number of things: consilience, Dasein, cognitive thought, Tantra, unity, love and the magic of being alive.

    And the miracle continues, in the fact that human beings have this relationship of being able to find this unity in everything they take the time to understand, an idea that overwhelms me more than any other. When making art, we utilize many connections to accomplish one project, even ideas that burn in our minds that have nothing to do with what we directly work on. Stoic philosophy places no act higher than knowledge and learning everything that can be feasibly learned. When this is done, then one act gains strength from knowledge you could never conceive being connected.
 
    One of the greatest powers a person can have is being able to what I like to call “change caps.” This is the ability to shift gears within the mind and delve into another reality within life.  While learning we can shift from note taking mode to practice mode, then reading mode. Each action requires a different type of utilization of skills.

    With these caps that are in their own ways realities, we take on roles, or better yet we play roles. Like Children pretending to go to work and pretend to be a whole different organism, we take on roles as hard working Americans, single mothers, troubled alcoholic artists, corporate ladder climbers and humble monks. We look at what we want to be and build an imagined archetype in our minds. When we join a sport, we think of an idol of ours, real or imagined, and do all we can to enact that character. When we yell at a spouse, drink to counteract our artistic frustration, resort to stern parental nature, we are calling upon a role we have constructed in our imaginations and are trying to make real. There is nothing wrong with this. It is after all still a form of imagination and art. Beyond that however, beyond filling one role, is a whole world of characters you can imagine yourself being, and with it a whole world of opportunity.

    Our whole lives as children was finding truths for ourselves, meaning of the world around us, what is dangerous, what is fun. And along the way we earn new habits about how we aught to be and how to treat instances that make us feel a certain way. It can be relearned that we can create our own truths, our own symbols, and our own reactions to instances. We never lose the ability to imagine, we just take the person we imagine ourselvess now to be a true self, an unchangeable self.

    With practice, trust and imagination, it is possible, I feel, to create ones own meanings and thus be in charge of our own comforts, entertainment and insight. The practice of art, like practice of religion, needs to have ins morals and symbols dispersed throughout understanding in order to have any influence on one’s life. With the artistic subject of “danse macabre,”, the depiction of dancing dead represents the fragility of life, and that all one can do in this life is develop one’s own rhythm. It takes constant vigilance, and changing views like changing caps to catch life in new ways, beyond the limits of one set reality. After all, we are always changing anyway, so why fight the transaction?
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    The above is the base of my beliefs as a human, which carry into my philosophy, which is indirectly engrained into my art. Asides from my philosophy stated above which I have no trouble decoding and finding the material to explain, I have trouble figuring what my art is about. This confliction arises because describing my art is to put a limitation on the directions it can go when in fact I believe my art has the potential of going anywhere. And I have never been too keen on placing labels or implications on anything as glorious as art. I can only cheaply list the key ideas and features of my work that come up most frequently.

    I don’t go out of my way looking for art materials, unless I am commissioned to seriously build a project for another person. I am more than comfortable drawing out characters on notebook paper using pens I snagged from the bank than pouring something as dirty as money into the process of keeping me active in art. Art is a beast to be fed as far, but this feeding should be of dedication. I do not believe that art should be an expensive pass time or life style. I end up with more than enough supplies that seem to blow in on the gusts of faith and luck.

    My work is didactic in its purpose, and incorporates a mix of symbolism, surrealism, anthropomorphism and personification. My work is meant to bring me back to an important idea I have on life, empowered to me in my waking and dreaming life.

    In order to feel something for the art I do, I use an odd mix of tools reflective of skills I utilize outside my visual art. I often utilize humor and have a fond curiosity at the profound power of its ability to send the mind into a deep plane of ecstasy with the unseen explosion of brain chemicals, birthing love and lust and the bizarre flames that privately entice our interests. Along side humor, sexuality and the erotic tend to find their way into my art, for the same reasons that humor does. My art has stories behind the characters within them, a philosophical or moral question in action. I use symbolism to mimic the literary stories, mythology and dreams that I draw my ideas from. And I like portraying multi-dimensional worlds, where there is a depiction of a life going on, things are happening in time, a character with personality, a history and functional innards, and a soul.


    Here is a list of influences, rolemodels, sources of art I enjoy and base my art around, and life persuits and areas of concentration I follow.