“Synchronicity”

In “Synchronicity” connections of time, the mind, perception and the body/mind continuum become aligned within the painting and these connections are represented as the forms, shapes, underlying structure and “psycho spiritual energetic narrative” of these works. The artworks of “Synchronicity” reveal the nature of painting itself, before thinking. (For more reflections on these works see below.)

“Museum Piece 1” 16”x20” Acrylic on canvas (2021)

“Synchronicity 2” 18”x24” Acrylic on linen (2023)

“Unentanglement” 18”x24” Acrylic on canvas (2022)

“Earth Frequencies” 16”x20” (2022)

“Synchronicity 1” 16”x20” Acrylic on canvas (2022)

“Red Microcosm” 6”x6” Acrylic on archival clayboard panel (2019)

“No Sided” 14”x18” Acrylic on canvas (2016)

“Stream Dreaming” Print of original oilstick on paper, any size (2016)

“Point of Luminosity” Print of original painting, any size (2016)

“Strolling Synchrony” 16”x20” Acrylic on arches watercolor panel (2017)

“Moment of Clarity” 16”x20 Acrylic on arches archival watercolor panel (2016)

“Falling Water” 14”x18” Acrylic on clayboard panel mounted on painted wood panel (2017)                                         

The artworks of “Synchronicity” are a veritable non-conceptual framework of communication arisen from the study and practice of painting, and meditation.  “Synchronicity” is a series of art that strips away the conceptual process of painting while informing the viewer of intrinsic energetic forms of human life that are always present when we slow down and stop the cognitive process and witness what is happening in the here and now. These paintings show the activity of the mystical side of painting, a hidden history under the surface of more conceptual art or possibly the visionary processes of the mind that are aligned with and hidden from the objective eye (but not subjective either. In other words, they are also paintings of the abiding realities within more mainstream creative processes.)

When we notice that there is a difference between what we call alive and something truly alive, say the difference between a plastic flower or tree and an actual flower or tree, or the difference between a device and an actual living breathing human, we can more clearly experience true synchronicity, rather than simply conceptually understand synchronicity. In a painterly sense true synchronicity is not simply the well-timed and coordinated movements of objects, but rather total harmony with human, matter, god, life and our senses. In other words, synchronicity, is the experience of painting and synchronicity is the experience of seeing paintings. With this understanding, painting and visual art is not conceived or misconstrued as an unloving series of still or moving images. It is not presented in a closed and re-imagined real world re-presented as a seeming actual world of collectivist (and hence limited) perception. Painting in this body of work is not a deconstruction and splitting between three dimensional reality, our lived experiences of that three dimensional world within a tiny narrow splice of imagery, represented in two dimensions, but presented as though it were three. Nor are these paintings an attempt at representing reality as we think we know it, but rather an adventure in elucidating and creating an individual experience which continues our human experience of being unique, awake, and alive. 

The synchrony of the painter, paint, canvas and reality is not a frozen and static attempt at capturing a passing moment. No, it is a sense of living stillness, revealed through the qualities and attributes of painterly tools and materials. This synchronicity appears as manifestations of repetitive forms of the luminous mind, connected to the body of the artist; movements of energy and spiritual frameworks that are not symbols but actual spiritual functioning caught and preserved, revealed for all to wonder at, inquire into, see and study. These mystical functions are communicated and received as these works in the series titled “Synchronicity”.