a multidisciplinary practice
This gallery of images display a range of artworks all created by acts of tantric and performative meditation practice. All drawings are created with both hands simultaneously tracing the left and right lines of the figures. Some rise from the imagination, others reference Eadward Muybridge's famous stop motion photographs of the human and animal figure.
My sculpture practice is soma-neuro-immersive using arms, legs, hands, feet, head, mouth, lips, tongue, and breath to tickle what I imagine as the sleeping octopus brain. She is blue. She is playful. She is all seeing, all feeling, and luminous. In Vajrayana Buddhist meditation this is known as diamond clear light, a complete emergence into and from luminosity. My blue octopus brain appeared to me in a meditation. Together we sense and seek to reveal the prevailing life force as She emerges forth. Drawing and sculpting, be it in clay, plaster, or the flesh, is never a singular act but an emergent, prevailing, pointed convergence of cosmic breath (prana). The focus of my current practice is the Chaveaux Caves, the drawings of Rodin and Joseph Beuys, and the plaster sculptures of Henry Moore, Barbara Hepworth, and Giacometti.
My sculpture practice is soma-neuro-immersive using arms, legs, hands, feet, head, mouth, lips, tongue, and breath to tickle what I imagine as the sleeping octopus brain. She is blue. She is playful. She is all seeing, all feeling, and luminous. In Vajrayana Buddhist meditation this is known as diamond clear light, a complete emergence into and from luminosity. My blue octopus brain appeared to me in a meditation. Together we sense and seek to reveal the prevailing life force as She emerges forth. Drawing and sculpting, be it in clay, plaster, or the flesh, is never a singular act but an emergent, prevailing, pointed convergence of cosmic breath (prana). The focus of my current practice is the Chaveaux Caves, the drawings of Rodin and Joseph Beuys, and the plaster sculptures of Henry Moore, Barbara Hepworth, and Giacometti.
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Drawing with both hands simultaneously produces an 'opening' sensation in the head/brain that almost shivers. As the information flows through my eyes and my hands I can feel the bumps and ridges of the nerve tracks the line travels along. The lines that appear on the paper are experienced (by me) as 'out of time', 'shaking', ‘shivering’, 'stretched', 'not of me'. Akin to automatic writing perhaps. Of interest, I have binocular vision which is most likely the reason why I took to drawing this way as a child, copying directly from History of Art magazines (1950s series). These drawings and prints arise out of tantric and occult trance practices. My drawing also experiments with sgraffiti, drawing directly onto porcelain (terra sigillata) and plaster.
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Muybridge Gallery
