Process
Inspirations
It is so easy to go about our daily lives within a limited range of existence. Our focus on the mundane can hinder our ability to experience and appreciate the tapestry of the abstract reality beyond our senses, but that fractal-like tapestry is as much of our world as that which is more readily perceived. To bring the totality of our world into consciousness, and to understand the universe and ourselves, I believe we need a profound shift away from our narrow perspectives so that we can explore the layers, perceive the unperceived, and open our minds to the richness of the conscious and unconscious experience.My artwork presents just such a shift; integrating elements of chaos theory, quantum mechanics, cosmology, neuroscience, dreams, the wisdom of Indigenous and Buddhist elders and the boyhood games of astronauts and dinosaurs, into a cohesive artistic expression.
In creation, convention is rejected and nothing is sacred. My pixels are my Lascaux; I see animals painted on cave walls and envision neural network induced marks deciphering modern physics. My sigils lurk in the underlying code of software programs, yearning to call in the power of the gods. And, at its heart, my art is about contemplation; of seeing our humanity in the abstract and surreal beauty of a universe beyond our imagination. A beauty in subatomic collisions, a crawling ant, a spiral galaxy, weak sunlight filtering through an old straw gardening hat, and the fathomless elegance of a Pollock in the imagination of a young boy. The numinous.
Influences
In the 20th century, there were major shifts in the art world that lead to movements such as Cubism and Abstract Art, shifting the focus away from the external world and directing it to the inner soul of the artist. Similarly, this digital age and its mathematical foundations have brought about profound transformations in life and art.
Modern computing has given rise to advances in complex mathematical calculations, making possible the development of new areas in math and visualization. Mathematics is often called the language of the universe. For me, it is also the language of creation and beauty. Math is an essential element in much of my work, both as process and content. My experimentation with cutting-edge algorithmic techniques, such as AI and deep learning, has allowed me to challenge myself and push my art into new territory.
I’m not interested in creating ordinary art. Instead, I choose to walk the path of the heretic. My artistic style is grounded in physics, math, and neuroscience, sprinkled with my grandmother’s innate celebration of light and color, inextricably interwoven with my personal spirituality, and infused with the knowledge that all these move me farther along my personal quest to revisit the wonder of play and the excitement of “what if.”
So, yes, my art is an expression of my formal education in physics and mathematics, but it is also an expression of my personal experiences with Native American spirituality, and my exploration of the latest research into consciousness and neuroscience. I am drawn to the enduring truth of spiritual knowledge and the wisdom that comes from the earth which we are all a part of. This exploration is as small as drops of water shimmering on a microscope slide and as boundless as the mysteries of galaxies.
Workflow
When I create art I attempt to bring this all into the visual realm, using this unique moment to contemplate and be part of the sacredness. Creating art is revelatory, and the process of exploring an idea or image is a celebration. It is a highly interactive and iterative process that challenges my creativity and artistic vision. With no idea where I’ll end up, I explore. Sometimes the path leads nowhere, but sometimes there is that ah-ha moment, the moment where the image matches my internal experience. I may use mathematical formulas as one tool in creating my work, but there is nothing formulaic about the ceremony of creation.
There are typically nine steps I go through from start to finish in creating my digital art. Here is an overview of my workflow:
Experimentation: My artwork generally begins with the exploration and expeimentation of various mathematical, algorithmic, or 3D avenues. It is a highly interactive and iterative process that challenges my creativity and artistic vision. The end goal is to produce a preliminary image that seems interesting and worth pursuing. Here I determine whether an image inspires me to move forward, and the path I will likely have to follow to create a finished work.
Catalogue Image: I use Adobe's Lightroom program to catalogue all my digital images. For me, it is vital to keep organized and to do it early in the process so that my creativity is free from clutter. Lightroom is a powerful organizing tool and I use it extensively as such. Additionally, at this stage I update image metadata, such as my copyright information and keyword tags.
Develop Image: Even though each type of image has its own set of challenges, the bulk of my time and effort is normally spent in developing my artwork into its final look. On occasion, I know ahead of time what I am striving for, and so the process involves transforming the initial image into the end result. Other times, the initial image is just a jumping off point for further experimentation, and the final outcome is an aesthetic result that was not pre-planned. Either way, I must tackle issues of composition, color, lighting, subject matter, and technique as I proceed. Adobe's Photoshop is the core program I use in this part of the process because of its comprehensive quality for layering and image manipulation. In addition to Photoshop, my image development process often involves Painter, Deep Art Effects, Filter Forge, Bryce, Ultra Fractal, and Mandelbulb 3D, depending on the type of image I am creating. All my completed images are saved as multi-layered Photoshop files.
Test Print Image & Edit: To translate the visual feeling of an image on screen into print is not always straight forward. Therefore, creating a test print is crucial in judging whether a piece is done or needs more work. The physical characteristics of a printed piece directly influence its impact as a work of art. Primarily, these include, the size of the printed piece, the paper it is printed on, and the dynamic color range of the image. It is amazing how the feel of an image can dramatically change when its size is altered, or when it is printed on glossy or matte paper. It is these kinds of decisions that are so important to make, but can't be done until an actual physical print is created.
Workflow (cont.)
Final Review: I have found that after working on an image intensely for hours, days, or weeks, it is important to step away from it for at least a day before I consider it done. Coming back to an image after a day or more of not seeing it, lets me review it and judge it more clearly. It is also at this point when I decide whether the piece will be sold as a Limited Edition or a Signature Edition print.
Create Print-Ready Image: Once the final review has been completed, I create and save a print-ready image. This means, in Photoshop, I add a border so that the print can be matted and framed at a later date.
Print Artist Proof: I print one artist proof for my archives. It is my version of the final print without any edition number on it.
Digitally Archive Print-Ready Image: I save all my work on my computer's principle hard drive, plus copies to both my LaCie external drives. It is critical to have multiple copies in case one of my drives crashes. If I lose my data I have no way to recreate my work without backups.
Post Image To Website: The last step in this process is to create and upload an image that I can post on my website. Once this is done, then it is on to the next image, and the process begins all over again!
example of a Complex Multi-Layered Photoshop file ready to test print