meditative paintings: the felt presence of the creative moment and its immediate experience. a spiritual journey, an inquiry into his awareness of spiritual reality.
an awareness both of the dark night of the soul and the light of deliverance. the mystical experience of the artist open to vision to the transcendent realms co-immanent with our own,
living landscapes, such as you might see when smoking or eating plants, the living being of Nature. representations of a living and breathing reality hidden behind the blind spots of Newtonian categories and 18th century empiricism.
intuitive, visionary, shamanic, the works of an expanded consciousness. expressionistic vigorous mark making on large canvasses, delightful colour and imagery.
the self reflective poet’s dream world, powerful and striking images show a deep sensitivity
“the painter of Light”, impressions are of imagined landscape, inspired by real landscape, inspiration, imagination and feelings. glimpses of the eternal world, a world symbolised in myth by and through the mystical states perception
regenerative imagery of nature–something like Nature Mysticism.
cultural assumptions, secret of transcendence a small pattern into a unity?
rich with foliage detail, nascent elementals making a subtle appearance, the onventional landscape, is a “consciousness through nature undergoing its own transformation.”
Chinese landscapes, use of perspective an interesting departure, and something that he incorporates new mystical landscapes. dragons and rabbits. space between the trees,
Neo-Platonism, the Eleusian Mysteries, the ecstatic.
Richard Demarco, “This is the gallery of the future–the gallery Joseph Beuys envisioned by the nature of his life and work.”
art, “a great empowering tool for self expression and personal resurrection from difficult periods.” art is, “our best means of re-creating the world”, art offers hope and meaning, among the despair and hopelessness.
‘I have heard of you by heresay,
but now my eye sees you;
therefore I despise myself,
and repent in dust and ashes.’(Job 42: 5-6)
‘When my heart was embittered,
when I was inwardly riven,
I was stupid, I did not perceive,
like a beast in your presence;
but I am always with you,
you hold me by the right hand.‘ (Ps. 73: 21-23)
‘The world’s great day is growing late
Yet strange these fields that we have planted
So long with crops of love and hate’
“Heaven lies about us in our infancy!
Shades of the prison-house begin to close
Upon the growing boy,
But he beholds the light and whence it flows,
He sees it in his joy;
The youth who daily farther from the east
Must travel, still is Nature’s priest,
And by the vision splendid
Is on his way attended;
At length the man perceives it die away
And fade into the light of common day.”
“The light that never was on land or sea”
“Thoughts that do often lie too deep for tears”
“My Brother the Sun”–”my Sister the
Moon”–”our Mother the Earth”–”my Brother the Wind”–”our Sister Water”–”Brother Fire.”
–St Francis of Assisi
“The rounded world is fair to see,
Nine-times folded in mystery:
Though baffled seers cannot impart
The secret of its labouring heart.
Throb thine with Nature’s throbbing breast,
And all is clear from east to west.
Spirit that lurks each form within
Beckons to spirit of its kin;
Self-kindled every atom glows,–
And hints the future which it owes.”
“Nature is the incarnation of thought, and turns to a
thought again, as ice becomes water and gas. The world is mind precipitated, and the volatile essence is for ever escaping again into the state of free thought. Hence the virtue and pungency of the influence on the mind, of natural objects, whether inorganic or organised.”
“Of the persistence of the mental attitude in the modern child, Ruskin gives a charming example, in his “Ethics of the Dust.” “One morning after Alice had gone, Dotty was very sad and restless when she got up; and went about, looking into all the corners, as if she would find Alice in them, and at last she came to me, and said, ‘Is Alie gone over the great sea?’ And I said, ‘Yes, she is gone over the great deep sea, but she will come back again some day.’ Then Dotty looked round the room; and I
had just poured some water out into the basin; and Dotty ran to it, and got up on a chair, and dashed her hand through the water, again and again; and cried, ‘Oh, deep, deep sea! Send little Alice back to me.’” On this, Ruskin remarks–”The whole heart of Greek mythology is in that; the idea of a personal being in the elemental power; of its being moved by prayer; and of its presence everywhere, making the broken diffusion of the
element sacred.” It would seem that Dotty did not definitely personify the element, but was rather in the animistic stage. The identifying of the natural element or object with a definite personality is a further step taken, as Ruskin says, by the Greeks preeminently. But the beauty and the suggestive quality of the incident remain, whichever view be taken.”
–J. EDWARD MERCER
“All men are poets if they might but tell
The dim ineffable changes which the sight
Of natural beauty works on them.
We are dumb,
Save that from finer souls at times may rise
Once in an age, faint inarticulate sounds,
Low halting tones of wonder, such as come
From children looking on the stars, but still
With power to open to the listening ear
The Fair Divine Unknown, and to unseal
Heaven’s inner gates before us evermore.”
–Sir Lewis Morris
“My son, the world is dark with griefs and graves,
So dark, that men cry out against the Heavens,
Who knows but that the darkness is in man?
The doors of Night may be the gates of Light;
For wert thou born or blind or deaf, and then
Suddenly healed, how wouldst thou glory in all
The splendours and the voices of the world!
And we, the poor earth’s dying race, and yet
No phantoms, watching from a phantom shore,
Await the last and largest sense to make
The phantom walls of this illusion fade,
And show us that the world is wholly fair.”
–Tennyson, Ancient Sage
“From haunted spring and dale,
Edged with poplars pale,
The parting is with sighing sent.”