This new work is about creating a space that comes and goes into clarity and chaos, that looks solid and yet de-materialized, the complex and the cliche. The labor of it has been pulled through my typical 'hair shirt' process of painfully reworking self-imposed constraints. The assembly - more than usual - is not as neat as it appears. This was accomplished by layering chromatic spectrums resolving in ONE faceted form of static yet shifting hypnotic pattern.

My interests are in something that is not in creating a picture or an abstraction per se, but an object of aesthetic growth that sets itself aside from the rest of reality to be contemplated as such. The template was built out of a variation of grey-scale test pattern strips used for gauging a printer's adherence to value. This pattern was taken apart and using a computer, repeated as an element to build a terrain of shifting value and size. This formed the base of what would be a pyramid that travels about outward and inward visually.

In regards to the Walkabout title, this appears to contain a reference to a spiritual journey as an important aspect of the experience. Commenting on this, its interesting to get at the root of what these journeys are. Merriam-Webster defines the noun "...as an occasional interruption of regular work". Wikipedia writers also note that "the only mention of "spiritual journey" coming in a usage example from a latter-day travel writer. To white employers, this urge to depart without notice (and reappear just as suddenly) was seen as something inherent in the aboriginal nature, but the reasons may be more mundane."



In this type of drawing I have increasingly been pushing for this idea of what could be a 'spiritual' - or at least a 'humanistic' form. A form spawned from the the more grounded or mundane coupled with a tiered experimental process that is unlike what is normally/coherently labeled as 'spiritual'. This is a self-defined system of such that creates its own kind of open and meditative space.

This piece pushes further [from the last, Buddhist TV] the parallel between orgone technology and the real accumulation and storage of hand-made energy. Beyond skepticism of evil or postive energies being manipulated or stored by esoteric materials and crystals (implicit in orgone science), we do know that these components have power to transform. Radiating to the homes of millions for over half a century, A crystal oscillator- the mechanical resonance of a vibrating crystal of piezoelectric material - accomplished an electrical signal with a very precise frequency that was but one component in the magic that was analog television.

These analog breakthroughs happened historically after Wilhelm Reich's innovations and experimentations with funneling energies using apparatuses perhaps more advanced. to a technophile perhaps they are more rudimentary and are certainly more eccentric than those needing to adjust frequency and electronics to form fast paced representational imagery.

In Reich's 'Cloudbuster' - which seems to have successfully produced rain - he found that pipes can act as wave guides, that having one end of the pipes at a source of water that he could trap energy into the piping systems. Newer models designed post-reich like the 'Chembuster' on the other hand are designed to attract and trap negative energies, transmuting it into positive energy. I've seen many of my drawings as both piping systems (or vehicles for things to flow) and storehouses (or monuments or crypts) for a spectrum of energies and creativity. In this case, a root design literally turning a small sliver of grey-scale test pattern into a more encompassing range of chroma/luma to contrast with that which can be created digitally. Something whose materiality can not be reproduced either logically or structurally through purely mathematical mediums.