Queer Intimacy of Visual Logic -April Post

(1) Intimacy of Visual Logic

Alchemy is a kind of philosophy: a kind of thinking that leads to a way of understanding. -Marcel Duchamp (2)

As artist, we must practice this alchemy daily to expand the visual terrain.                          -miChelle Vara


The Root of Re-Action

This project is a ruptured reaction that started in February 2017 with the review of a photograph called Arm Fuck, by Joel-Peter Witkin and snowballed from reaction to investigations of Landscape: Space – Time Figure: Relationship – Physicality – Reflection Force – Submission Reaction: Movement Sex – Slang Ethics – Truth Emotion: Primal – Fear – Hate Silence Sublime  into connecting atrocities against human rights, taboos of sexuality, leaving me to investigate morality. Furthermore me to question a Nation that empowers and allows ego to run wild like a spoiled child -ramped, and looks at kindness as weakness. 

The Blog posts over the last three months follow my circles of thoughts research and inspirations.


“The act of resistance should be joyous and irresistible.” (3)

For most of my upbringing there was an intense focus on morality what it was and how one should live by it. From the beginning morality had shame connected to it that would become attached to your soul and follow an individual to their grave. My family was intense and tight having been from Italy and Catholic by decent. My father’s generation was the new generation-activist of the 60’s movement trying to open boundaries of the mind with extensive action and education. I am the first family sprout from that generation which means the residue of Extremes & Catholicism pops up.

The social and political environment we have experienced recently in the world around us has been an assault on what I believe is the morality of human rights. 

The name of the photograph Arm Fuck, by Joel-Peter Witkin during this artistic investigation becomes the bigger picture metaphore, for this body of work called  “Queer Intimacy of Visual Logic”.

                                                            Queer is used as a facet of diverse strange.   To date this contemplative process has generated over 1200 pieces, not counting journal entries. Initially I was inspired to create the sculpture titled ˈembrēˌō/. Crucial to this sculpture and its expression is the kinetic aspect of the top circle.

The newest works are derived from the sculpture embrēˌō/



and photographs;

The Y of Embryo

The Y of Embryo

imploding and exploding the original and derived works through humor, drama, metaphor and contradictions. 

mVara_111.Foil Sculpture2

mVara_111.Foil Sculpture 2

I further developed my understanding through investigation of Morality -Space, Truth- environment and abstraction,









and contextualizing these through the concepts explored by Agnes Martin, Mark Rothko and Barnett Newman. As a conclusion to this series I intend to organize my visual findings into a book.

  1. L) Journal submishion 4/9/17:

Every thought and action is as if a tree growing from source.

  1. L) Journal submission 3/28/17:


Note to self: remember to daily record ideas, impressions, and observations as they occur wherever they occur.

  1. L) Journal submission 3/20/17:

Womb- many describing factors to process, where one is connect from and to.

Void -Connection. Messy interaction.

My thoughts are intuitive and multifaceted; bringing forth perspectives sometimes in the form of memory and others that unfold as an ironic interactions – :

  1. Introduction

            While trying to find dates for what Barnett Newman called his ‘dark years’ I came across my copy of Agnes Martin: Paintings, Writings, Remembrances by Arne Glimcher which I had read in January to coincide with viewing the Martin retrospective exhibition at The Guggenheim Museum (NYC). When I stumbled over this book I thought, how timely. 

My new work looks as though I purposely created the drawings to connect to lines of thought that circle Agnes Martin’s On A Clear Day, where she writes “there free from environment and made as a response similar to music.” (p. 61)

My initial response to Arm Fuck was embrēˌō/ which rapidly expanded further beginning the look at morality put into drawn responses. 

There is a clear, visual difference between Martin’s and my work; Martin’s work is linear and fine, but mine is bold and simple. Where I connect my approach to her’s is through what she expressed in the following words:

Artwork that is completely abstract free from any expression of the environment- is like music and can be responded to in the same way. Our response to line and tone and color is the same as our response to sounds. And like music abstract art is thematic. It holds meaning for us that is beyond expression in words. (4)

For months, I have been repeating Martin’s concepts without realizing it, especially “meaning beyond words”; and I have found the same sentiment expressed by many other artists, such as David Smith. Martin uses words that I find perfect as a description for this segment of my work: thematic, abstract, free from environment.

  1. Exploration X

            Looking at Arm Fuck I drew it down to simple lines and shapes, with and without color: morality and social contrast, leading intuitively through reactive steps of unfolding thoughts.

One of my steps into the work was to purposefully free myself from my initial perspective of what I found to be expressed through the context of the environment would describe this as being ‘appalled boredom’.


Yet, this was not at all the response of other people. The general consensus

I encountered to the photograph was ‘rE-Rctively hoRRified’. That response I took

into a separate set of drawings. 

"applaud boredom"

“applaud boredom”

Another step was to draw from both sides of side of ‘appalled boredom’ within the environment.

mVara_Queer Intmacy_17

mVara_Queer Intmacy_17

After rumination on the connections between Martin’s and my work I re-read the book Barnett Newman by Thomas B. Hess to stimulate further reflection and inform spirit into additional ideas that inform drawings and photographs expanding the series.

  1. Narrative

Through narrative I considered how Barnett Newman in his works The Blessing and Gea, both crayon drawings, lead the way in connecting the Gea story and circle motif to twenty-five of my Arm Fuck-  ˈembrēˌō/ drawings.

The story:

The goddess Gea (Gaea or Ge) is a personification of earth, the first being that sprang to Chaos; she gave birth to Uranus and Pontus (the sea); by Uranus she became the mother of the Titans. For both the Greeks and the Romans, she reigned in the underworld. (Hess, p. 47)

For me this story was a fully charged battery of underlying narratives with which I could contextualize the work I have been doing with ; creating symbolic layers of body, morality, human rights, sex and nature, and applied notably in my series. I found the paragraph filled with obviously amusing metaphors that surface in this section of my work stemming from the photograph. One immediate thought about Arm Fuck is the blurred human head could be read as the equivalent of ‘chaos’. Chaos is an exciting entry point that I have often connect to that energy to draw from and carry further into photographs, paintings and sculpture. Add sex as a secondary means of access space and the exploration of ideas becomes explosively boundless. The composition of the photograph draws the viewer’s attention to the surrounding space and centering the focus on unfocused to create a semblance of shape into state of being. I see all of these things as Arm Fuck. Arm Fucks Reach into Humanity is overwhelming. This part of the series is still not fully examined nor developed but does contain fifty drawings and numerous photographs. 

Finally, it is important to note both of Newman’s crayon drawings depict embodiments of Joy that are found in the sculptures Three Pi and embrēˌō/  and that same Joy is tied into many of my new drawings in this series.

  1. Reaction Space   

            This project is a ruptured reaction which snowballed into connecting atrocities against human rights, leaving me to question morality of a Nation that allows ego to run like a spoiled child -ramped, – and find weakness in acts of kindness.

With this became another set of steps slogging from a reactionary space that turned into metaphors on ‘boundaries’ that produce reflective drawings and writings. 

Journal entries

Metaphors for Arm in the Ass and cross references to the social and political environment we have experienced recently in the world around us has been an assault on what I believe is the morality of human rights. 

“Queer Intimacy of Visual Logic”


Arm Fuck

 Arm in the Ass

Reaction appalled



And some say filling

A gay derby of indiscreet

A game



Pain – Pleasure


Whos to gain

Arm fuck

What a shame.


 Humanitarian senses violated

Visual senses vomit curiositys

Pain Pleasure: old questions

All that is- is on your side.



distinguish core

become a bearer of good

fight for light

  1. Social

I got some awesome, closed and open minded responses and reactions to the work in conversations at a private organized gathering of people who are not like minded, but were invited to talk honestly about Arm Fuck as a philosophical perspective about politics and art over a drink -kind of like a book club. You would not believe how interesting and varied the conversations were, and, for me, offered hefty information to draw and think with. Arm Fuck stirred a wide and at times heated variety of controversy.


  1. Photographs
253.Embryo Toy Box. Photograph

253.Embryo Toy Box. Photograph

My photographs have become the anatomical documentation. (3) Using  embrēˌō/; to reveal the connective tissue, of intuition and inquisition forming the structures that expose the wide range of perspectives; I have come to understand as visual dialog.

The problem I continually come up against is how wide a range of subject matters that my natural curiosity leads me to research and digest into works of art, which leaves me in a complicated place for explanation in words and crunched for time.

Anatomy of exploration:

  1. Investigate environment, metaphor, object.
  2. Abstraction
  3. Temporal environments: that moment- that ship- that lighting
  4. Chance
  5. Reaction
  6. Reflection
  7. Spatial concept: Ideas
  8. Planes: depth, surface
  9. Conversations of space and mind
  10. Question object life: If the object was alive what would its memory thoughts, be or could be and can this be communicated?
  11. Journaling
  12. Reactions: to photographs, to sculpture, to environment, to cross-sections of contamination.
  13. Dimensions of visual conversation that can stem from one object
  14. Words
  15. Possibility
  16. Self
  17. Document outcomes


  1. Joy

I have grown to love making small sculptures, something I never expected nor would I have ever pursued had I not been traveling to Berlin, Germany.  Small sculpture adds an entirely new set of opportunities. I found they have a way of revealing personality traits of the viewer in a way different from larger sculptures and I, as the artist, can control or demand how attention is directed, and interacted with. Small sculptures are very rewarding for me personally, and just plain fun!

While working on my final project report The Geometry of Joy and revisiting the readings and work of the past two years I realized Joy operates at many different tempos. Revisiting the works has helped me to understand this and the revelation of these tempos and the qualities of Joy have enriched the context of the works, exposing things I initially had not seen.

M.Vara. A_17 (5)

M.Vara. A_17 (5)

This leaves me to wonder when work is destroyed am I missing an opportunity to later in life revisit it and gain a different perspective that could have been revealed by its continued existence?

  1. Future Intention

Develop the photographs of embrēˌō/ into a set of mixed media works. From

the sculpture create more sculptures. I am undecided as to how and what the

parameters of their birth should be at this time.



  1. Closing

In Declaring Space (3) Mark Rothko wrote:
If one understands, or if one has the particular of space to which a painting is committed, then he has obtained the most comprehensive statement of the artist attitude towards reality. Space, therefore, is the chief plastic manifestation of the artists conception of reality. It is the most inclusive category of the artists statement and can very well called the key to the meaning of the picture. It constitutes a statement of faith, an a priori unity, to which all of the plastic elements are in a state of subservience.

He also says:

I think of my pictures as dramas; the shapes in the pictures are the performers. They have been created from the need for a group of actors who are able to move dramatically without embarrassment and execute gestures without shame.


I realize Rothko is speaking here directly to painting, but I believe his concepts cross media and connect directly to the spectrum of my work and ideas. My sculptures are performers, dramatically moving and revelling without shame in front of the camera. Photography is, for me in the words of Rothko, the “chief plastic manifestation of the artist’s conception of reality. It is the most inclusive category of the artist’s statement and can (is) very well called the key to the meaning of the picture”.

Sculpture Photography Paint

Using metal sculptures as the subject in photography has become a tool with which I build a platform upon which I can view the work; a platform where the visual conversation is deepened and findings of the experiments I am conducting are revealed; in a sometimes true or false sense of communicating. There is so much going on in my head, photography is a one clarifying stop of the shutter.  Through photography and sculpture I, the artist, speak of a complex interplay within – and between- space and object abuse metaphors- revealing a bigger picture.

In the case of embrēˌō/ the interplay is one of autobiographical abstractions, pun humor and disgust.

This concept of photographing sculpture as an extension of the creative process to the work acts to further the development of the ideas into visual language; it is something I believe David Smith didn’t get time to fully realize, although in his writings I see traces of the idea. For me this realization in conjunction with Smith’s work possibly stems from looking at his sculpture and life through the formative years of my artistic practice. 

To close this section, from The New York Times, May 27, 1979

Looking at the shapes that seem to result rather from some mysterious process of exhalation than from any more conventional technique of drawing, we remember Seurat. Looking at the images of germination that Newman produced in the mid1940’s, we feel almost as if we were looking at the magnified spoor of some creature that is too small for us scrutinize with normal sight. Looking at the four watercolors in which aquatic microorganisms float against broad vertical bands of color, we cannot but think of Kandinsky. Looking at the irregular oval that recurs in several of the earlier drawings, we remember Odilon Redon.

None of this in any way downgrades the originality Newman’s achievement. It simply reminds us of what we know already: that major art does not come from nowhere, and that the major artist is in nearly every case the one who relates most cogently to the great art of the past.

  1. Last thing

It is important for anyone who reads this to know that each work from this series, each visual object; could have a dedicated written description, all its own to explain the visual, symbolic and metaphoric depths and concepts which it contains and connect to the world around us. This document stands only as an overview and a summation of my work process over the last ninety days. In no way through this writing do I want to corrupt the stimulation that the work offers through direct, personal observation.

Please remember art is best experienced in person.




(1) Queer used as adjective or Metaphor-

strange; odd: she had a queer feeling that they were being watched

synonyms: odd, strange, unusual, funny, peculiar, curious, bizarre, weird, uncanny, freakish, eerie, unnatural, unconventional, unorthodox, unexpected, unfamiliar, abnormal, anomalous, atypical, untypical, out of the ordinary, incongruous, irregular, puzzling, perplexing, baffling, unaccountable, fishy, spooky, bizarro, freaky

(2) Alchemical Mercury: A Theory of Ambivalence, book by Karen Pinkus, pg159.

(3) http://www.vagilante.life/love-letters-project

(4) Agnes Martin, Painting, Writing, Remembrances, book by Arne Glimcher, Publisher: Phaidon Press,Publication Date: 2012, ISBN: 0714859966

(3) From Wikipedia: Anatomy is the branch of biology concerned with the study of the structure of organisms and their parts.[1]Anatomy is inherently tied to embryology, comparative anatomy, evolutionary biology, and phylogeny,[2] as these are the processes by which anatomy is generated over immediate (embryology) and long (evolution) timescales. Human anatomy is one of the basic essential sciences of medicine.[3]

The discipline of anatomy is divided into macroscopic and microscopic anatomy. Macroscopic anatomy, or gross anatomy, is the examination of an animal’s body parts using unaided eyesight. Gross anatomy also includes the branch of superficial anatomy. Microscopic anatomy involves the use of optical instruments in the study of the tissues of various structures, known as histology, and also in the study of cells.

The history of anatomy is characterized by a progressive understanding of the functions of the organs and structures of the human body. Methods have also improved dramatically, advancing from the examination of animals by dissection of carcasses and cadavers (corpses) to 20th century medical imaging techniques including X-ray, ultrasound, and magnetic resonance imaging.

Anatomy and physiology, which study (respectively) the structure and function of organisms and their parts, make a natural pair of related disciplines, and they are often studied together.

(4) Declaring Space. Mark Rothko.  Modern Art Museum of Fort Worth, in association with Prestel, by: MICHAEL AUPING, Prestel Publishing, September 2007,ISBN-10: 3791338862, ISBN-13: 978-3791338866.



XXXXXX_ sinice Ive posted this the conversation got started about my choice of name using word: Queer_

Cant wait for this conversation! = Sunday _









Reflection 3/21/2017

Started session with me posting a written pc-

Sickbed 27

Open the door,

let the blue sky span wide,

let inquisitive scents of pedals enter my room,

let the first sunlight

seep through the veins of my body.

In the rustling of leaves let me hear

Words that greet my being alive.

Let this morning

cover my mind with its shawl

as it shelters the new grass of the dark field.

All the love I received –

its wordlessness

I hear in the sky, in the wind.

Today I bath in its ceremony, its sacred waters.

The truth of a whole life as a gemmed garland

I see on the breast of blue.

28 November 1940 (morning)

 -book, Rabindranth Tagore: Final Poems, Page 15

Warm the conversation dimensionally-

Our conversation wandered and I condense my thoughts to the following-

Great art is always a way of concentrating, reinventing what is called fact, what we know of our existence – a reconcentration… tearing away the veils that fact acquires through time. (Francis Bacon)



The photograph by Joel-Peter Witkin- Arm Fuck 1982, is the starting point.                Caution Photograph is ADULT content. 

The idea becomes a machine that makes the art. –Sol LeWitt (1965)

Witkins photograph- Arm Fuck 1982; led to my creating the reflective sculpture no. 253 ˈembrēˌō/.

Witkins and ˈembrēˌō/ has served as critical dialog in more than 4 of my circles over six weeks. The conversations have been as deep and wide as the ocean with no boundaries to collapse exploration. Topics were loaded: Phycology, Sex, Emotion, Reaction, Belief, Practice, Space, Context, Material, Object, Perception, Society, Reality, Documentary –  This became a fantastic verbal, written, photographic studie (purposely spelt for concertation effecting a unified proposal or concerted action.) that has far exceeded any possible expectations and a shout of Kudos (1) to Witkins for his success!

The sculpture made in reflection is the mid-point to furthering understanding transmission.

Idea – in extended process

The sculptures photograph’s is the extensions in progress and become a dialog in the transcribing of a journey to:

 Con text u lize

Con- traversing ideas in contexts of person

Text- control, review to particular


Lize-  truth?

The dimensions of object consciousness and point to view.



Our conversations paralleled the ideas subjectify -ing visual reference. I explained the time, thought process and techniques being used in the creation of new photographic series.

…The subject matter of conceptual investigations is the meaning of certain words and expressions – and not the things and states of affairs themselves about which we talk, when using those words and expressions. –G. H. Von Wright.

A shot in in space and time.



Lisa well versed in Witkins work offered ideas to review. Mikael felt Bacon calling which lead me to realize the tie back to my series titled “THE LIMB”. I loved Lisa’s comment “Bacon’ isn’t brave enough to expose raw in way Witkins does”. So clearly direct.

Witkin’s Photograph is assemblage like visual that translates into sculpture smoothly.

I have purposefully chosen the angel of ˈembrēˌō/ photograph for the monthly and advisors review because this creates is a clear depiction of the sculptures connection to Witkin’s photograph. Michael says as I hold the sculpture up to the Skype lens- “The sculpture clearly depicts the connection and seeing it on Skype doesn’t make me see the directness this is where the photograph works, but not as a replacement for being with the object in person.”


James Jeans has stated: . . . When philosophy has availed itself of the results of science, it has not been by borrowing the abstract mathematical description of the pattern of events, but by borrowing the then current pictorial description of this pattern; thus it has not appropriated certain knowledge but conjectures. These conjectures were often good enough for the man-sized world, but not, as we now know, for those ultimate processes of nature which control the happenings of the man-sized world, and bring us nearest to the true nature of reality. (4) He continues: One consequence of this is that the standard philosophical discussions of many problems, such as those of causality and free will orof materialism or mentalism, are based on an interpretation of the pattern of events which is no longer tenable. The scientific basis of these older discussions has been washed away, and with their disappearance have gone all the arguments…..

Photographs of sculpture:

I started researching and found that the origin of formal photography used statues as the subject and as still life with that idea Embryo has extended to a photographic essay.

Object – Form from photograph – returned to photograph.

253. Embro

“The truth of image is not single, it is many ”… (5)

I am visiting “Object shifting by its photograph” the photographer- the atmosphere- the sculpture- the artist- the commentary- the light- the space- Shape Shifting

“I purposefully choose not to give dimensions of the small sculptures playing with the viewer’s’ perception of real.”

MB- “the image is not the Object”

“This process has its limitations because of the innate object- image limitations”





Joseph Kosuth

The second inclusion in Bishop’s collection, “I Am Searching For Field Character” (1973) is to be considered Beuys most concise statement on social sculpture. Beuys’s manifesto begins as follows:

“Only on condition of a radical widening of definition will it be possible for art and activities related to art to provide evidence that art is now the only evolutionary-revolutionary power. Only art is capable of dismantling the repressive effects of a senile social system to build a SOCIAL ORGANISM AS A WORK OF ART.” (2)

This is as relevant as when he said it and I have been traversing through/ in the physical works, word and acts that I prepare for review.


 ‘One and Three Chairs’ by Joseph Kosuth- “The art I call conceptual is such because it is based on an inquiry into the nature of art,” Kosuth has written. “Thus, it is . . . a working out, a thinking out, of all the implications of all aspects of the concept ‘art,’ . . . Fundamental to this idea of art is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction.” Chasing a chair through three different registers, Kosuth asks us to try to decipher the subliminal sentences in which we phrase our experience of art.


Epiphany: Find what you want to say in preexistence written form and cite its source. Quite the opposite process for creating- object- art.

“I have confidence in my ability to create beyond what I’ve done” (5) David Smith

Please watch for the photographs to follow.













Metal sculpture in Response Joel Peter Witkin


Sculpture no. 253

ˈembrēˌō/ is a response to a photographic image that was burned onto my retina as if I had watched a house, with children inside screaming, burn to the ground. The photograph followed me in my thoughts, a haunting agitation packing a punch to the stomach as if in mid-sentence leaving me gasping for air with internal questions.

For the rest of the story Please open – miChelleVara_Sculpture #253-Embryo 












There is a physical book that accompanies the sculpture as different perspectives of Visual language in art photographs.

Next month I’ll be working this combination from the word. 

Thank you! ~m


Metal Sculpture

Sculpture No.252 Under the Apple Tree

During Newton’s lifetime, alchemy and chemistry were considered virtually interchangeable.

“Alchemists were the first to realize that compounds could be broken down into their constituent parts and then recombined. Newton then applied that to white light, which he deconstructed into constituent colors and then recombined,” says Newman. “That’s something Newton got from alchemy.” (1)

Newton’s favorite alchemist was George Starkey. Starkey’s recipe translated by modern scholars for “sophick mercury” -the main ingredient in what is called ‘the Philosopher’s Stone’, a stone which could turn base metals like lead into precious metals like gold-  involves repeatedly distilling mercury before heating it with a small amount of gold. The process will apparently produce an alloy with strikingly delicate branch-like structures, resembling a tree. (2)

It is a coincidence that the tree and Isaac Newton meet here in his relationship to alchemy as well as in one of the most famous anecdotes in the history of science. The young Isaac Newton is sitting in his mother’s garden in Lincolnshire, when an apple falls on his head, although there is no evidence to suggest that it hit him on the head, it is implied in a stroke of brilliant insight and inspiration he suddenly comes up with his theory of gravity. (3)

Reading about Newton’s interests and life events led me to connect my thoughts to lines written in my advisors’ last assessment. Michael Bowdidge suggested “to become increasingly reflexive- What I broadly recommend would be akin to Newton that he spends more time hanging out in orchards.” This inspired the sculpture no.252 Under the Apple Tree and research on Sir Isaac Newton which revealed an ironic, hidden perspective or a tree with delicate branch-like structures; leading to a metaphor and drawn lines I’ve used throughout the sculpture.

Alchemy has been a branch on the tree of my work and research over the past ten years. In my work I refer to alchemy not only as a scientific procedure but also by the second dictionary definition as “a person (thing) who transforms or creates something through a seemingly magical process.” (4)

White light is an expansive, metaphysical and spiritual theory in which all light particles combined encompass love, healing and the ‘I am’ of Christ. White light can be incorporated into practices of meditation in White Light. (5)

In color theory and optics because white is comprised of equal amounts of red, green, and blue that together produce white light, the extensive connotations of this mixing causes these colors to be described as primary additive colors. (6) I could expand my thoughts on this into the circle and how the circle is the shape of color mixing diagrams, or how everything is connected to everything else in the universe as ‘universal knowledge’ and can be drawn back to the visual forms of the sculpture.  However, I also need focus on the to process of constituent parts used in the sculpture that recombining which Newton then applied to white light.

Throughout my two years of study I have sought to expose a seemingly magical process that happens between artist and objects that are captivated with a lifelike force. The process of constituent parts is an ingredient in the creative recipe for my process of inspiration. I choose each piece for its small details which together form the whole but are also extremely important and sometimes overlooked in their individual details.

Under the Apple Tree supports two upper, outreached circles -one that has raised facets and a rim, the other is concave or convex depending on the view. The upper circles, equally advancing or retracting, are finished in rust as a display of growth or continuous change which is the definition of life. The 3rd and lower hollow circle is a socket; I cut the end and photographed as a close-up to distinguish the artist’s ideas in space and the dimensions of the mind as never-ending. Lines connect to the sculptures ‘heart of truth’ fostered by process in education and experience. I could go on but I think you get the point and how the process of my visual life works.

For now the sculpture No.252 Under the Apple Tree will live in the reflective space of my meditation place to see if it calls for a color or not.

no. 252 _Under the Apple Tree

In short, this sculpture, started in reflection on one adviser assessment, is a playful conversation of Sir Isaac Newton and relativity in a wide reach of theories drawn across branches that shoot for the sky. 


  1. http://www.history.com/news/rediscovering-the-alchemy-of-isaac-newton
  2. http://www.history.com/news/history-lists/9-things-you-may-not-know-about-isaac-newton and http://www.independent.co.uk/news/science/the-core-of-truth-behind-sir-isaac-newtons-apple-1870915.html
  3. https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=alchemists+definition&*&dobs=alchemists
  4. Going to the center of your existence; silent, stay relaxed and still. Appreciate the divine presence of your soul within your heart. Using spiritual phrase or mantra that comforts you, for example: “Aum”, “peace”, “Our Father in Heaven”, “Our Lady”, “Bismillah”, “Sairam”.
  5. https://micro.magnet.fsu.edu/optics/lightandcolor/primary.html


If there was time I would in this segment have talked about Basquiat, Klein, Beuys, and how it ties to the reading I’m currently doing- each other and the sculpture but that will all come at a later date. The other disclaimer – I don’t like these photos so at some point in the near future I will re-shoot. To accompany these sculptures there are 260 drawings and 3 paintings not shown here. Please come back as in the very near future I’ll contextualize the following work. 
















shoot them. 

Energy Drawings – Evidence Dance Company

I got an opportunity to create energy drawings using automatic techniques which I rely on so commonly using oil pastel on paper as the medium. I glided through this lovely up close presentation and talk with the Evidence Dance Company who performed for an intimate group at the National Museum of Dance in Saratoga, NY. The Evidence Dance Company has gone to the Egg in Albany Catch them if you can.